KARMA 


KARMA 


A  RE-INCARNATION   PLAY 

IN 

PROLOGUE,  EPILOGUE  &  THREE  ACTS 


BY 

ALGERNON  BLACKWOOD 

AUTHOR  Ot  "JULIUS  LE  VALLON,"  "THE  WAVE,"  ETC. 
AND 

VIOLET  PEARN 


NEW  YORK 
E.  P.  BUTTON  &  COMPANY 

681  FIFTH  AVENUE 


COPYRIGHT,  1918, 
•Y  E.  P.  BUTTON  &  COMPANY 


Printed  in  the  United  States  of  America 


CONTENTS 

PAGE 

PROLOGUE.     PRESENT  DAY 3 

ACT  I.  THEIR  FIRST  LIFE  TOGETHER.    TIME — 
2000  B.C.    EGYPT 38 

ACT  II.  THEIR  SECOND  LIFE  TOGETHER.  TIME— 
325  B.C.    GREECE 81 

ACT  III.  THEIR  THIRD  LIFE  TOGETHER.  TIME- 
FIFTEENTH  CENTURY.     ITALY      ....   123 

EPILOGUE.     PRESENT  DAY  .  189 


PROLOGUE 
PRESENT  DAY 


CHARACTERS 

PHILLIP  LATTIN  (45),  British  Agent  in  Egypt. 

MRS.  LATTIN,  his  wife  (40),  mentally  and  phys- 
ically ill;  a  woman  of  strong  personality 
and  exacting. 

THE  DOCTOR,  unpretentious,  simple  in  bearing, 
gentle  in  manner. 

NURSE. 


PROLOGUE 

SCENE — Room  in  LATTIN'S  London  house.  MRS. 
LATTIN  lies  on  sofa.  A  picture  of  Ancient 
Egypt,  showing  the  Nile,  palms  and  temples 
on  wall  easily  visible  to  her. 

TIME — Present  day,  evening. 

Mrs.  Lattin 
.     What  time  is  it,  nurse — now  ? 

Nurse 
Close  on  half -past  five. 

Mrs.  Lattin 

(With  irritability  of  a  sick  woman.)    Not 
later?    Are  you  sure?    It's  so  dark. 

Nurse 

(Soothingly.)      The  dusk  is  closing  in; 
I'll  light  your  lamp. 

3 


4  KARMA 

Mrs.  Lattin 

Half -past  five,  you  said?  My  husband 
expected  to  be  back  before  this.  Hasn't 
he  come?  The  appointment  was  for  half- 
past  two. 

Nurse 

The  Foreign  Office  takes  its  time.  Mr. 
Lattin  will  come  to  you  the  moment  he  gets 
in. 

Mrs.  Lattin 

You're  sure?    I  thought  I  heard  his  step. 

Nurse 

I'll  go  and  see  the  moment  the  lamp  is 
lit.  But  he  never  forgets.  He  always  comes 
in  here  first. 

Mrs.  Lattin 

But  he's  so  long  to-day,  longer  than  usual. 
And  he  looked  so  grave,  nurse,  when  he  left. 
He  looked  worried,  I  thought.  You  noticed 
it? 


KARMA  5 

Nurse 

He  is  taken  up  with  these  politics  just 
now.  It's  only  natural,  considering  the 
crisis  in  Egypt.  But  he's  always  so  in 
earnest,  isn't  he  ?  I  noticed  nothing  unusual. 
The  Government  is  lucky  to  have  him 
at  such  a  time.  No  one  could  fill  his  place. 
(Brings  lamp.)  There's  the  lamp.  Is  the 
shading  right  ? 

Mrs.  Lattin 

Fill  his  place!  No,  indeed.  Phillip 
understands  the  natives  better  than  anybody 
in  the  world.  And  the  country  too  (wist- 
fully) .  If  only  I  could  bring  myself  to  go 
back  to  Egypt  with  him.  (Irritably.)  The 
light  catches  my  eye  there.  To  the  left 
a  little.  Now  to  the  right.  Thank  you. 

Nurse 

The  doctors  all  agree  it's  best  not,  don't 
they?  The  dry  climate 


6  KARMA 

Mrs.  Lattin 

It's  not  that,  nurse.  Dryness  is  what  I 
need — warmth  and  dryness.  It's  some- 
thing else.  Egypt  frightens  me.  I  can't 
sleep  there.  Dreams  come  to  me. 

Nurse 

The  doctors  said  it  was  the  effect  of  the 
climate  on  the  nerves. 

Mrs.  Lattin 

Oh,  I  know.  I'd  face  it  if  I  could — an- 
other winter.  It  means  so  much  to  Mr. 
Lattin,  doesn't  it?  Nurse!  It's  curious — 
it's  strange,  don't  you  think — that  Mr.  Lat- 
tin feels  nothing  of  that  I  feel  there?  I 

mean •. 

Nurse 

Hark!  I  think  that's  Mr.  Lattin's  step. 
I'll  go  and  see. 

Mrs.  Lattin 
It  can't  be  the  new  doctor,  can  it? 


KARMA  7 

Nurse 

Dr.  Ogilvie?  Not  yet.  Six  o'clock  he  was 
to  come.  He  won't  be  here  before  his  time. 

These  great  specialists  are  busy  men. 

' 

Mrs.  Lattin 

(Wearily.)  I've  seen  so  many  doctors. 
I  hardly  feel  as  if  I  had  the  strength  for  a 
new  examination.  Dr.  Ogilvie  will  do  me  no 
good. 

Nurse 

Still  you  will  see  him.  For  your  hus- 
band's sake. 

Mrs.  Lattin 

Ah,  yes,  for  Phillip's  sake.  I  think  my 
husband's  coming,  nurse. 

(Enter  PHILLIP.) 

Nurse 

Good-evening,  Mr.  Lattin.  Mrs.  Lattin 
is  a  trifle  better.  I'll  leave  you  for  a  little, 
but  she  must  not  tire  herself.  We  are  ex- 
pecting Dr.  Ogilvie  at  six. 


8  KARMA 

Phillip 

I'll  be  very  careful. 

[NURSE  exit. 

(PHILLIP  comes  to  Ms  wife.) 

Mrs.  Lattin 

At  last,  Phillip.  I'm  so  glad  you've  come, 
dear.  I've  been  waiting  and  longing  so. 
They  kept  you — but  you  belong  to  me,  don't 
you?  You're  tired,  poor  old  thing.  Come  to 
me,  Phillip — closer.  (Stretches  out  hand.) 

Phillip 

I  am  a  bit  late.  I'm  sorry,  Little  Child. 
They  kept  me,  yes.  But  you ? 

Mrs.  Lattin 

I'm  well  enough  to  listen.  You're  back; 
I  forgive  you.  And  it's  all  arranged  as  you 
wished — as  you  hoped? 

Phillip 
Sir  George  was  kindness  itself 


KARMA  9 

Mrs.  Lattin 
You  saw  the  Foreign  Secretary! 

PMOip 

You  didn't  know  I  was  such  a  big-wig, 
did  you?  It  is  important,  you  see,  dear. 
The  situation  out  there  is  complicated.  I've 
left  them  in  the  lurch  a  little,  and  my  ad- 
vice— er — my  knowledge,  Sir  George  was 
good  enough  to  say — at  such  a  time 

Mrs.  Lattin 

In  the  lurch,  Phillip!  How  in  the  lurch? 
You're  only  asking  a  longer  leave  than 

usual. 

Phillip 

There,  there.  I  don't  want  you  to  worry 
your  dear  head  with  politics.  The  new  doc- 
tor will  be  here  any  minute  now.  That's  far 
more  important. 

Mrs.  Lattin 

I  would  rather  know  exactly.  It  doesn't 
worry  me. 


10  KARMA 

Phillip 

It's  all  been  arranged  most  satisfactorily, 
dear;  and  I'm  very  pleased.  So  you  re 
pleased  with  me — eh? 

Mrs.  Lattin 
Phillip — what  has  been  arranged? 

PhiUip 

Sir  George  was  most  complimentary.  The 
Government  would  recognise  my  services — 
my  long  services,  he  called  it.  He  even  dis- 
cussed with  me — asked  my  advice,  if  you 
must  know  the  full  weight  of  honour  placed 
upon  me! — as  to  my  successor 

Mrs.  Lattin 
Successor! 

Phillip 

But,  darling,  some  one  must  fill  my  place. 
There  must  be  a  locum  tenens,  as  they  say  in 
the  church. 

Mrs.  Lattin 

You've — resigned ! 


KARMA  11 

Phillip 

Dear  one,  there  was  no  other  way.  It's 
a  formality,  you  see.  I  can  always  take  it 
up  again  where  I  left  it  off.  Our  man  in 
Egypt — just  now — must  be  there.  He  must 
be  on  the  spot,  of  course • 

Mrs.  Lattin 

But  six  months'  leave!  Surely,  six 
months'  leave 

Phillip 

Means  the  entire  winter.  There,  there, 
Little  Child,  it's  nothing.  You  must  not 
exaggerate  like  this.  What  is  my  work  in 
Egypt  compared  to  being  with  you.  The 
doctors  forbid  you  to  go  out.  It's  quite 
simple:  I  prefer  to  stay  with  you.  My 
world  lies  in  your  heart.  I — I  can  always 
take  up  the  work  again  when — when  you're 
better. 

Mrs.  Lattin 

Resigned,  resigned!  You  have  actually 
resigned.  Your  career — I  have  broken  your 


12  KARMA 

career — at  last — completely.     Is  it  wrong, 
then,  that  I  need  you  so? 

Phillip 
Hush,  dearest 

Mrs.  Lattin 

You  have  paid  this  tremendous  price — 
and  I  have  made  you  pay  it. 

Phillip 

I  wish  to  be  always  with  you.  That  is 
my  only  wish,  my  only  happiness. 

Mrs.  Lattin 
For  my  sake  you  have  sacrificed 

Phillip 

It's  I  who  am  selfish  to  tire  you  with  all 
this  stupid  Government  business.  There, 
now;  you've  talked  too  much  and  I  have 
done  you  harm.  There's  only  happiness  in 
my  heart.  No  more  nonsense-talk  about  sac- 
rifice. You  must  lie  quiet  and  rest  again. 
I  can  be  always  with  you. 


KARMA  13 

Mrs.  Lattin 

Yes,  to  the  end — my  end  and  yours.  O 
God!  Why  did  I  not  understand  before? 

Phittip 

You  must  not  speak  like  that.  Love — 
our  love — knows  no  end. 

Mrs.  Lattin 

Oh,  I  am  miserable,  Phillip,  miserable, 
miserable. 

Phillip 

Please,  do  not  say  such  things. 

Mrs.  Lattin 

But  I  must,  I  must.  My  selfishness  has 
brought  you  to  this  last  renouncement. 
Egypt  has  meant  so  much  to  you. 

Phillip 

Too  much,  Mary,  too  much.  Egypt  was 
coming  between  us. 


14  KARMA 

Mrs.  Lattin 

Your  work  there,  the  great  work  I  have 
ruined  .  .  .  !  Egypt  meant  home  to  you. 

Phillip 

Home  is  where  you  are,  dearest,  and  no- 
where else.  You  have  taught  me  this — in 
time.  (To  himself.)  Egypt!  Ah,  Egypt! 

Mrs.  Lattin 

I  hate  it.  It  terrifies  me.  There  is  pain 
for  me  in  Egypt.  An  instinctive  dread 
comes  over  me  always — something  from  very 
far  away.  I  have  struggled  against  it,  for 
your  sake,  but — oh,  it's  so,  so  strong.  If 
only  you  could  forgive  me 1 

Phillip 
Hush,  dearest! 

Mrs.  Lattin 

But  it  has  come  between  us.  You  love 
it  so.  And  it's  my  fault  that  you  can't — 
your  career,  I  mean 


KARMA  15 

Phillip 

Dear  one,  whatever  is,  is  right.  There  is 
nothing  to  regret.  Egypt,  indeed,  has  drawn 
me  strangely.  There  is  some  power  out 
there — a  spiritual  power — that  has  cast  a 
glamour  over  me.  It  has  been  a  passion 
with  me. 

Mrs.  Lattin 

My  instinctive  terror! 

Phillip 
And  my  instinctive  love! 

[They  glance  together  in  silence  at  a 
great  picture  above  the  bed — an 
Egyptian  night-scene,  with  stars 
and  Nile. 

Yes  .  .  .  yes  .  .  .  strange  indeed !  From 
my  earliest  days  it  drew  me.  Those  palms 
and  temples,  that  majestic  desert 1 

Mrs.  Lattin 

Phillip,  don't!  Those  stars,  that  river 
bring  me  sadness — immense  regret.  I  feel 


16  KARMA 

them  always  rising  over  me.     They  watch 
me! 

Phillip 

Forgive  me.  It  was  the  marvellous 
beauty  took  me.  I 

Mrs.  Lattin 

But  it's  an  unearthly  beauty.  And  some- 
thing in  it — lost.  It's  lost  to  you.  And  I — 
oh,  but  I  do  love  you  so;  for  ever  and  ever 
you  are  mine — aren't  you? 

[He  stoops  and  kisses  her.    She    half 
rises,  whispering : 

Phillip,  dearest  —  something  strange 
comes  over  me.  I  see  a  lifting  of  this  heavy 
English  sky.  I  have  been  through  this  be- 
fore— I  have  done  this  very  thing  before — 
long,  long  ago — injured  you  somehow!  Oh, 
Phillip,  can  it  be  that  we  have  lived  before — 
pre-existence — is  it  true?  (Sinks  back.)  I 
think  ...  I  think  I  must  be  near  to  ... 
death! 


KARMA  17 

PUUip 

Hush,  hush,  my  darling.  These  are  sick 
fancies  only.  Your  brain  is  tired.  We  must 
not  talk  like  this. 

Mrs.  Lattin 

I  am  tired,  yes ;  but  it  is  my  soul  that 
aches  and  not  my  body.  Phillip,  I  want  your 
forgiveness. 

Phillip 
There  is  nothing  to  forgive.    I  love  you. 

Mrs.  Lattin 

(Spiritually  tortured  and  perplexed.)  I 
want  your  real  forgiveness — before  I  go.  I 
have  been  suffering  deeply,  deeply.  Cur- 
tains have  been  rising.  I  almost  see.  Some- 
thing seems  growing  clearer  to  me.  I've 
done  wrong  somewhere !  Why  have  I  pulled 
against  you  all  these  years — against  your 
work?  It  cannot  be  my  love  that  is  at  fault. 
You're  wholly  mine — and  yet  I  want  your 
forgiveness  somehow 


18  KARMA 

Phillip 

(Deep  patience.)  All  the  love  and  for- 
giveness in  the  world  I  give  you,  Little 
Child.  But  you  ask  for  what  was  always 
yours. 

Mrs.  Lattin 

Your  broken  mission.  You  alone  have 
the  strength  and  patience  Egypt  needs.  I 
have  ruined  all,  all,  alll 

Phillip 

There!  I  forgive  you,  then.  (Kisses  her.) 
I  forgive  you  all,  all,  all.  But  please  calm 
yourself.  This  excitement  does  you  harm. 
You  torment  yourself  for  nothing.  It  is 
I  who  have  been,  and  am,  the  egoist.  All 
men  who  think  their  work  is  a  mission  are 
shameless  egoists. 

Mrs.  Lattin 

Thank  you,  Phillip,  for  this  great  gift 
of  your  forgiveness.  But  it  is  not  enough. 


KARMA  19 

I  want  to  understand — and  so  forgive  my- 
self. 

Phillip 

You  must  rest  now  a  little.  It  was 
criminal  of  me  to  let  you  talk  so  much.  Nor 
not  another  word.  I'll  leave  you  for  a  bit. 
You  must  be  calm  to  see  the  Doctor.  It's 

nearly  six 

Mrs.  Lattin 

Dr.  Ogilvie  can't  help  me. 

Phillip 

What!  The  first  man  of  the  day!  His 
wonderful  cures 

Mrs.  Lattin 

He  cures  the  body  only.  ?Z  need  a  soul 
physician.  Oh,  Phillip,  I  believe  sometimes 
my  yearning  must  bring  him  to  me. 

PUWp 

My  darling,  it  is  your  body  alone  that  is 
ill.  Your  suffering  gives  you  these  strange 
fancies. 


20  KARMA 

Mrs.  Lattin 

You  love  me  too  well  to  understand. 
(Sighs.)  My  illness  is  not  only  of  the  body. 
Now,  leave  me,  dearest.  I  wish  to  see  him 
quite  alone. 

Phillip 

Little  Child,  you  shall.  You  can  dismiss 
the  nurse.  (Glances  at  clock.)  It  is  close 
on  six. 

Mrs.  Lattin 

Kiss  me.  (He  kisses  her  softly  and  goes 
out. )  If  only — ah,  if  only  my  great  yearn- 
ing ... 

[She  lies  back  exhausted.  Sighs. 
Covers  her  face  with  her  hands. 
After  a  moment  she  uncovers  her 
face  and  half  sits  up  again.  She 
stares  hard  at  Egyptian  picture  on 
the  wall. 

The  fault  lies  in  my  soul,  and  it  comes 
first  from  there — from  Egypt.  The  river 
is  rising,  rising  once  again.  The  stars  are 


KARMA  21 

rising  too.  They  watch  me,  and  they  wait. 
They're  always  watching  us.  O  God!  If 
only  some  one  could  make  me  understand! 
If  some  great  doctor  of  the  soul  .  .  .  ! 
(Sinks  back.  Her  eyes  close.  She  lies  very 
still.} 

[A  big  clock  on  the  mantelpiece  strikes 
the  first  three  strokes  of  six  o'clock, 
then  stops.  The  door  opens  slowly 
and  a  man  enters  quietly.  He  looks 
round  the  room,,  sees  her  on  the 
sofa  apparently  asleep,  and  stands 
still.,  a  few  feet  inside  the  door.  He 
looks  steadily  at  her  a  moment, 
then  glances  at  the  picture  of 
Egypt  on  the  wall.  He  smiles  gen- 
tly. His  figure  is  a  little  bent, 
perhaps.  He  is  not  a  big  man  with 
any  marked  presence.  As  he 
smiles,  she  opens  her  eyes  and  sees 
him.  She  shows  surprise  and  slight 
embarrassment.  She  raises  herself 


22  KARMA 

on  one  arm.    Her  voice  is  hushed 
rather  when  she  speaks.     He  re- 
mains near  the  open  door. 
I  beg  your  pardon.    Is  it — Dr.  Ogilvie? 

Doctor 
I  am  the  Doctor. 

Mrs.  Lattin 
I  must  apologise.    Did  no  one ? 

Doctor 

I  found  my  way. 

[Both  pause,  gazing. 

Mrs.  Lattin 

(With  relief.)    Ah!    Thank  you. 
[She  makes  an  unfinished  gesture  to- 
wards a  seat.     Her  eyes  remain 
fixed  on  his.   She  smiles  faintly. 

Doctor 

You  called  for  me.     (He  makes  one  step 
nearer. ) 


KARMA  23 

Mrs.  Lattin 

My  husband,  I  believe,  did  write.  We — 
expected  you. 

Doctor 
I  am  come. 

Mrs.  Lattin 

It  is  exceedingly — it  is  more  than  kind  of 
you.  You  are  so  good.  I  mean — (stam- 
mers; sinks  back  upon  the  cushions,  unable 
to  maintain  the  effort).  I  am  very  ill. 

Doctor 
I  know. 

Mrs.  Lattin 
You  know !    Ah  yes — you  know. 

Doctor 

That  is  why  you  called  me.  That  is  why 
I  am  here  now. 

Mrs.  Lattin 
I  can  tell  you  very  briefly  what • 


24  KARMA 

Doctor 
It  is  unnecessary. 

Mrs.  Lattin 
But 

Doctor 
I  have  been  watching  you. 

[He  straightens  up  a  little;  a  new 
dignity  is  in  him.  She  gazes  in- 
tently. She  stretches  out  a  hand, 
then  withdraws  it,  hesitatingly, 
again. 

Mrs.  Lattin 
You  mean ? 

Doctor 
I  knew — that  you  would  send  for  me. 

Mrs.  Lattin 

Ah!  The  medical  journals!  My  case, 
of  course — its  peculiar — er — its  hopeless- 
ness. 


KARMA  25 

Doctor 

There  are  no  hopeless  cases.  (He  smiles. 
His  voice  is  very  gentle. ) 

Mrs.  Lattin 

(Bewildered.}  You  are  very  ki — good. 
I  thank  you,  already. 

Doctor 

(Shaking  his  head  quietly.)  And  you  al- 
ready— I  see — are  on  the  way  to  your 
recovery. 

Mrs.  Lattin 
Recovery ! 

Doctor 

Since  you  realise  that  you  are  very  ill. 

Mrs.  Lattin 
Oh — in  that  sense. 

Doctor 
In  every  sense. 

[She  is  more  and  more  aware  of  some- 
thing unusual  in  him.    She  keeps 


26  KARMA 

Tier  gaze  steadily  on  his  face.  She 
makes  a  gesture  towards  him,  then 
hesitates.  She  seems  on  the  point 
of  saying  more — speaking  more 
freely. 

Mrs.  Lattin 

I  think — there  must  be  a  mistake  some- 
where.     I    don't    quite    understand    how 

you 

Doctor 

There  are  no  mistakes. 

Mrs.  Lattin 

But  you  are  sure  it  is  me  you  have  come 
to  see? 

Doctor 
It  is  you. 

Mrs.  Lattin 

Mrs.  Lattin?  [He  bows  his  head. 

In    this    street    and    house — 13    Bristol 
Square? 


KARMA  27 


This  street,  this  square  (moves  nearer  and 
puts  his  hand  upon  her  head),  this  very 
house  you  occupy  —  for  the  moment. 

[She  stares  at  him.  They  smile.  She 
is  aware  of  another  meaning  in  his 
words.  A  touch  of  awe  shows  in 
her  manner. 

Mrs.  Lattin 
(Low.)    This—  body? 

Doctor 

Which,  for  the  moment,  you  —  are  occupy- 
ing, Littl^  Child. 

Mrs.  Lattin 

(Awed.)  You  know  that  name!  My 
husband's  secret  name  ! 

Doctor 
It  is  —  your  name. 

[He  moves  back  a  step  so  that  she  can 
see  the  picture.  One  hand  he 


28  KARMA 

stretches  towards  her  as  in  blessing. 
Her  eyes  turn  from  the  Egyptian 
night-scene  to  his  face  again. 

Mrs.  Lattin 

(Softly,  to  herself.)  My  little  secret  love- 
name.  It  is  too  marvellous — this.  I  am 
completely  at  a  loss  to — (breaks  off>  as  he 
looks  down  and  smiles  at  her). 

Doctor 
Love  names  truly  always. 

Mrs.  Lattin 
He  .  .  .  has  .  .  .  always  .  .  .  called  me  so. 

Doctor 
He  has  loved  you  truly — always. 

Mrs.  Lattin 

(Sitting  up.)  But  you  know  everything 
in  the  world!  Who  are  you — really?  (Awe 
increases  in  her.) 


KARMA  29 

Doctor 
I  am  the  Doctor. 

Mrs.  Lattin 

Doctor!      The    greatest    calling    in    the 
world!    A  doctor's  powers 

Doctor 
Are,  by  rights,  divine. 

Mrs.  Lattin 
Life  or  death 

Doctor 
Life  and  death. 

Mrs.  Lattin 

(Hushed.)      But — you    are    more    than 
doctor;  you  are  also — Priest. 

Doctor 
I  am  at  your  service. 


30  KARMA 

Mrs.  Lattin 

(Light  breaking  on  her  face.  She 
stretches  out  a  hand  to  him.  He  takes  it.) 
To  heal  me.  I  feel  great  power  pouring 
from  you — into  me.  It  is  like  wind  and  fire. 

Doctor 

Life  is  a  wind  and  fire.  It  is  life  you  feel. 
Your  claim  is  great,  because  of  your  great 
wish,  your  true  desire.  You  deserve.  And 
I  have  come. 

Mrs.  Lattin 

(Puzzled.)  Deserve!  My  great  desire! 
My  claim  .  .  .  ! 

Doctui 

Your  sickness  is  not  of  the  heart,  but  of 
the  soul.  Your  desire  was  prayer. 

Mrs.  Lattin 
You  have  read  my  heart. 

Doctor 
Little  Child,  it  is  in  your  eyes. 


KARMA  31 

Mrs.  Lattin 
And  you  know  my  very  soul. 

Doctor 
Little  Child,  I  am  come  to  heal  it. 

Mrs.  Lattin 

Recovery!    You  said  recovery.    While  I 
lie  dying  here  by  inches  1 

Doctor 
,You  love. 

Mrs.  Lattin 
With  all  my  heart. 

Doctor 
And — soul? 

[He  looks  questiordngly  down  at  her 
with  great  tenderness.  Her  expres- 
sion shows  the  dawn  of  compre- 
hension. 


32  KARMA 

Mrs.  Lattin 

(Very  low.)  I  love — wrongly — some- 
where. I  forgot — my  soul.  And  I  have 
wrecked  him,  wrecked  his  life,  his  work. 

Doctor 
(To  himself.)   Again. 

Mrs.  Lattin 

(Not  catching  his  word.)  Is  there  re- 
covery for  that?  Can  you  heal  that? 

Doctor 
He  does  not  question  your  love  for  him? 

Mrs.  Lattin 

He  is  too  big-hearted.  He  has  sacrificed 
all  for  me.  It  is  regret  and  remorse  that  kill 
me  now — they  bring  death  more  quickly.  If 
only  I  could  understand  1 

Doctor 
You  shall. 


KARMA  33 

Mrs.  Lattin 

(Bitterly.)  When  it  is  too  late.  Can  you 
give  recovery  for  that?  Can  the  forgiveness 
that  I  crave — his  forgiveness — undo  what 
has  been?  (Hides  her  face  and  sobs.)  I 
must  die  without  forgiveness. 

Doctor 
Recovery  begins  with  understanding. 

Mrs.  Lattin 
I  want  his  forgiveness. 

Doctor 
You  must — forgive  yourself. 

Mrs.  Lattin 

Oh,  oh,  I  do  not  understand.  My  re- 
morse goes  with  me  even  into  the  grave. 

Doctor 

Remorse  brings  weakness.  The  forgive- 
ness of  another  affects  that  other  only. 


34  KARMA 

Mrs.  Lattin 
(Looking  up.}    Yes? 

Doctor 

Understand.  Then,  without  regret,  go 
forward.  To  forgive  yourself  is — true  for- 
giveness. 

Mrs.  Lattin 

I  feel  something  wonderful  in  you.  Your 
words  bring  life  again  ...  I  ...  There 
seems  something  I  remember — remember  al- 
most— very  dim  and  far  away.  .  .  .  (Her 
eye  falls  upon  the  Egyptian  picture.  She 
gazes  fascinated  at  it.)  The  stars  .  .  .  the 
river  .  .  .  are  rising,  surely  .  .  . 

Doctor 

You  remember — lif e.  And  life  shall  teach 
you  this. 

Mrs.  Lattin 

Life!  My  life!  Oh,  what  is  it  rising  in 
me?  A  curtain  lifts.  I  see  .  .  .  myself. 
Ah,  now  it  goes  again  .  .  .  The  pain  .  .  . 


KARMA  35 

the  pain  is  awful!  It  all  has  been  before 
somewhere,  I  know  .  .  .  Have  I  done  this 
before,  then?  If  only  I  could  see,  I  might 
understand. 

Doctor 

You  shall  see.    Understanding  shall  bring 
recovery. 

[As  he  speaks  he  retires  slowly  back- 
wards towards  the  open  door.  Her 
eyes  remain  fixed  upon  the  picture. 

Mrs.  Lattin 

Recovery !    I  half  remember  ...  I  begin 
to  ...  understand  .  .  .   ! 

Doctor 

The  soul  reaps  ever  its  own  harvest,  for 
the  soul  is  linked  to  all  its  past. 

Mrs.  Lattin 

(Faintly.)     The  pastl    My  past  .  ...  1 
Our  past  together  .  .  . 


36  KARMA 

Doctor 

Your  pain  and  prayer  may  lift  for  once 
the  curtain.  Remembering,  you  shall  under- 
stand. And,  understanding,  you  shall  learn 
to — forgive  yourself. 

[A  light  falls  on  his  face  and  figure  by 
the  door.  Just  before  he  disap- 
pears she  tears  her  gaze  away  from 
the  picture,  and  turns  to  him  with 
outstretched  hands.  He  raises  his 
hands  as  though  he  were  lifting  a 
curtain  and  holding  it  up. 

Mrs.  Lattin 

It  lifts,  it  lifts!  I  hear  wind  among  the 
palms,  and  lapping  waters.  A  voice  is 
whispering  .  .  .  "Little  Child"  .  .  .  yet  in 

™^v 

another  tongue  .  .  . 

[From  beyond  the  door  his  last  words 
reach  her  with  a  distant,  half- 
chanting  sound. 


KARMA  37 

Doctor 

Egypt!  Where  you  began — with  him. 
Your  earliest  life.  Then  other  lives  as  well. 
See — and  understand. 

[She  sinks  back  exhausted.  Her  face 
is  radiant  through  her  tears.  She 
has  ju$t  strength  enough  to  touch 
the  pneumatic  bell  beside  the  bed. 

CURTAIN 


ACT  I 

THEIR  FIRST  LIFE  TOGETHER. 
TIME— 2000  B.C. 
EGYPT 


CHARACTERS 

MENOPHIS,  a  young  Egyptian,  well  born,  about 

30. 

NEFERTITI,  an  Egyptian  dancing-girl. 

SETHOS,  Egyptian  youth. 

RAMES,  High  Priest  in  Temple  of  Aton. 


ACT  I 

SCENE — Banks  of  the  NUe.  White  temple  visi- 
ble m  distance.  Kephren's  Pyramid  seen  very  far 
away. 

Late  evening,  sunset. 

(NEFERTITI  and  SETHOS  enter  and  pause.} 

Nefertiti 

Now  leave  me,  Sethos.  And  go  swiftly. 
( With  gesture  of  pushing  him  off. )  I  must 
be  alone.  You  follow  me  as  wind  follows 
a  bird. 

Sethos 

Yet  never  touch  you  as  wind  does  the 
bird.  And  when  you  dance  your  feet  dance 
on  my  heart.  No  other  dancing-girl  com- 
pares with  you. 

Nefertiti 

Last  moon  Pharaoh  himself  told  me  that. 
I  know  it.  But  now  leave  me.  I  am  here 
to  worship. 

41 


42  KARMA 

Sethos 

(Supplicating.)  May  I  not  stay  a  mo- 
ment— at  least,  until  Menophis ? 

Nefertiti 

Sethos,  you  heard  me.  It  is  the  sacred 
night.  The  tear  of  Isis  falls  into  our  River 
when  the  dusk  has  passed  to  darkness.  And 
I  must  worship. 

Sethos 

Menophis  comes  also  with  the  dusk.  You 
meet  here  every  evening ;  anJ  when  he  comes 
I  am  forgotten.  May  I  not  stay  and  be 
remembered — till  he  comes?  (Implores.) 
Your  beauty  makes  me  slavish.  Out  of  his 
plenty  he  will  not  miss  so  little,  and  I — 
starve. 

Nefertiti 

Not  now.  Sethos,  I  tell  you,  go!  His 
coming,  as  you  know,  makes  the  dry  desert 
live  for  me.  I  would  not  have  him  troubled 


KARMA  43 

for  so  little.  He  hardly  is  aware  of  your  ex- 
istence— as  yet.  But,  should  I  ever  need 
you — slave ! 

Sethos 

(Eagerly.)  As  yet!  Need  me!  Oh, 
Nefertiti,  if  you  could  use  me  I  should  die 
of  happiness. 

Nefertiti 

Then  prepare  to  die,  for  the  time  may 
come. 

Sethos 
Oh,  may  it  happen  soon! 

Nefertiti 

(Teasing.)  The  Gods  alone  know  what 
may  happen,  and  when.  You  are  my  slave. 
Then,  vanish ! 

Sethos 

(Bowing.)  Your  slave  obeys.  (Rising.) 
But  your  lover  will  wait  among  the  palm- 
trees  yonder.  Menophis  may  not  come. 


44  KARMA 

The  Gods  know  what  will  happen,  and  it 
is  said  the  Gods  have  claimed  him  for  them- 
selves. He  is  a  prize,  it  seems,  that  earth  a 'id 
heaven  both  desire.  I  have  heard  rumours. 
(Moves  off  Ungeringly.)  If  you  need  escort 
back  to  Memphis  your  lightest  call  will  reach 
me. 

Nefertiti 

Go!  I  shall  not  need  your  escort.  My 
happiness  and  his  are  in  the  keeping  of  the 
Gods.  Leave  me  to  worship. 

Sethos 

(With  boy's  passion.)  Oh,  Nefertiti,  the 
wild  sweetness  of  the  desert  is  in  your  breath ! 
To  me  you  are  holy  as  our  sacred  River! 
May  the  Gods  grant  you  all  your  heart's  de- 
sire. Sethos  is  your  slave  for  ever — even 
though  his  heart  should  break. 

[Exit,  slowly,  looking  back. 


KARMA  45 

Nefertiti 

(Smiling  to  herself.)  A  slave  is  always 
useful — for  slavish  purposes.  I  may  put  you 
to  the  test  some  day! 

[She  watches  him  out  of  sight  behind 
the  palms,  then  goes  to  the  water's 
edge  and  splashes  idly  with  her 
bare  foot  several  times  in  succes- 
sion, accompanying  each  splash 
with  a  remark. 

He'll  bury  himself  in  the  Temple.  .  .  . 
He'll  bury  himself  in  my  arms.  .  .  .  He'll 
become  a  monk  at  Rames'  bidding.  .  .  . 
He'll  become  mine.  (Makes  biggest  splash 
of  all.)  I've  got  him  .  .  .  under  this  very 
foot!  (Hears  his  footstep.) 

Menophis 

(Entering.)  You  here!  Nefertiti!  (She 
pretends  not  to  Jiear.  She  is  worshipping.) 
Nefertiti! 

Nefertiti 

( Startled. )    Menophis ! 


46  KARMA 

Menophis 

You  worship  here  at  dusk  .  .  .  beside  the 
Nile! 

Nefertiti 

I  often  come  at  sunset — as  you  know. 

Menophis 
I  ...  had  .  .  .  forgotten. 

Nefertiti 

Forgotten!  Has  some  Afreet  blinded 
you?  Only  last  night,  too,  you  passed  me 
by  without  a  glance — on  your  way  to  Aton's 
new  Temple. 

MenopMs 

It  was  moonless  and  I  did  not  see  you. 
No  Afreet  power  could  hide  you  in  the 
sunshine. 

Nefertiti 

(Mocking.)  Oh,  thank  you,  Menophis. 
I  thought  your  heart  was  too  full  perhaps 
to  see  me. 


KARMA  47 

Menophis 

You  have  been  worshipping  alone — and 
you  were  lonely.  Forgive  me,  Little  Child, 
I 

Nefertiti 

I  forgive  you,  O  handsome  Menophis. 
But  I  was  not  lonely.  S ethos  kept  me  com- 
pany awhile. 

Menophis 

Sethos!  The  Syrian  banker's  son!  You 
can  find  pleasure  in  such  company? 

Nefertiti 

(Softly.)  You  did  not  come  here  to  talk 
with  me  of  Sethos.  You  came,  like  me,  to 
worship ! 

Menophis 
He  is  rich. 

Nefertiti 

He  is  forgotten  too.  When  you  call  me 
"Little  Child"  the  whole  world  is  forgotten. 
There  is  only — You. 


48  KARMA 

Menophis 
Little  .  .  .  Child. 

Nefertiti 

( Goes  closer. )  Your  eyes  seem  strange  to 
me  to-night:  they  look  far  away  into  space. 
Your  voice  sounds  distant  like  the  desert 
jackal's  cry.  (She  puts  a  hand  on  his  and 
looks  searchingly  into  his  eyes. )  Yet  you  call 
me  Little  Child,  as  of  old,  when  we  met  here 
every  evening  in  the  dusk  ...  to  play  and 
talk  and  dream  together  ...  of  the  future. 
Menophis  (taking  his  other  hand  and  draw- 
ing her  body  closer  to  him ) ,  will  you  not  tell 
me — your  Little  Child — this  sacred  night 
when  the  Tear  of  Isis  bids  our  river  rise — 
tell  me  what  wonderful  new  dream  has  crept 
into  this  faithful  heart?  (Lowers  her  head 
as  though  to  hear  its  beating.)  I  hear  an- 
other music  in  your  blood.  (Lifts  her  face 
to  his.)  And  it  is  ...  beautiful.  (Waits 
for  his  reply.) 


KARMA  49 

Menophis 

It  is  the  Sacred  Night.  That  means — 
Had  you  forgotten? 

Nefertiti 

(Alarmed,  but  half  teasing.}  Oh,  you 
Solemnity!  Forgotten  what? 

Menophis 

(Gravely.)  A  choice — a  decision — made 
to-night  is  made  for  ever. 

Nefertiti 
(Low.)    I  know. 

Menophis 

Little  Child,  it  is  for  me  a  crisis,  and  I 
must  choose  between  great  issues.  My  life, 
too,  is  rising.  I  must  decide  in  what  direc- 
tion it  shall  flow. 

Nefertiti 
You  mean  .      .  with  whom? 


50  KARMA 

Menophis 
For  whom. 

[He  turns  his  head  a  moment  towards 
the  distant  Temple  of  Aton,  just 
visible  still  in  the  last  sunset  light. 
Its  whiteness  gleams.  She  notices 
the  gesture. 

Nefertiti 

How  cold  it  has  grown.  Menophis  .  .  . 
I  feel  the  desert-wind's  fingers  at  my  heart. 
It  is  the  North  wind  from  the  sea.  You, 
too,  seem  distant  suddenly.  (Lowering 
voice.)  I  fear  for  you.  Why  is  it?  I  fear 
something  .  .  .  for  myself  ...  as  well 

Menophis 

There  is  no  fear  this  sacred  night.  There 
is  courage  only.  Life  increases  everywhere. 
The  river  rises.  The  Tear  of  Isis  falls  into 
the  Nile  and 


KARMA  51 

Nefertiti 

Hark!  (She  listens.)  There  are  awful 
things  about  in  Egypt  when 

MenopJus 
She  is  alive,  that's  all. 

Nefertiti 
Listen! 

Menophis 

It  is  the  lapping  waves.  It  is  the  wind 
among  the  palms. 

Nefertiti 

(Whispering.)  The  waters!  That  cold 
desert  wind!  It  blows  between  us — between 
you  and  me.  There  is  a  shadow!  (Shud- 
ders closer  to  him.)  Surely  great  Kephren 
bowed  this  way  1 

Menophis 

The  stars  shine  over  us.  They  cast  no 
shadow.  The  pyramid  stands  fast. 


52  KARMA 

Nefertiti 

Yet  something  passed  between  us,  for  I 
felt  it.  (Grips  him.)  You  are  all  mine? 

MenopTus 

(Holds  her  close.)  There  is  no  room.  A 
shadow  cannot  separate  us.  Anything  real 
would  bind  us  closer  only. 

Nefertiti 

Then  why  are  you  so  solemn,  your  eyes 
so  far  away,  your  voice  so  distant?  This 
crisis  that  you  speak  of — it  could  not  take 
you  from  me? 

MenopTiis 

Nothing  can  take  you  from  me,  or  me 
from  you — for  long.  The  chain  of  our  past 
and  future  lives  is  bound  together  beyond 
all  breaking. 

Nefertiti 
What  is  it,  then,  that  frightens  me? 


KARMA  53 

Menophis 

(With  grave  tenderness.)  Ah,  Nefertiti, 
Little  Child,  to-night  I  stand — we  stand  to- 
gether— at  the  very  gates  of  life.  The 
choice  is  difficult,  for  it  involves  you  too. 
Since  first,  three  years  ago,  I  saw  you  flit- 
ting, like  a  swallow,  down  the  river  bank  at 
Memphis — since  those  enchanted  days  I 
have  had  no  other  human  love  but  you 

Nefertiti 
(Startled.)    No  other  human  love! 

Menophis 

(Slowly.)  There  is  another  love,  my 
Nefertiti — a  greater;  not  more  enduring, 
perhaps,  but  nobler.  For  it  demands  the 
greater  sacrifice.  And,  cold  though  it  seem 
to  your  warm,  passionate  heart —  if  it  should 

call  me 

Nefertiti 

(Catching  him  by  the  arm.)  Greater! 
Yet  would  take  you  from  me !  But  you  are 
mine! 


54  KARMA 

Menophis 

Your  beauty  troubles  me;  my  blood  re- 
bels. I  cannot  look  at  you  and  hear  the  call 
this  sacred  night  may  bring  me.  I  must 
make  a  still  place  for  my  soul  to  listen. 
(Slotcly.)  Oh,  Xefertiti,  you  must  leave 
me — for  a  little. 

Nefertiti 

Not  knowing  what  is  in  your  troubled 
heart!  Not  hearing  from  your  own  lips  if 
we  shall  meet  again ! 

Menophis 

(Sees  RAMES  approaching.)  You  should 
know  all.  If  not  from  my  lips,  then 
from 

Nefertiti 

(Sees  RAMES  too.)  Rames,  the  great 
Priest !  I  understand.  He  would  steal  you 
from  me  for  his  dismal  Temple,  steal  you 
away  from  life. 


KARMA  55 

Menophis 

He  is  among  the  wisest  and  noblest  of  our 
land,  the  Great  One  of  Vision,  Aton's  ser- 
vant. 

Nefertiti 

( Pouting,  alarmed. )   Aton ! 

MenopMs 

Hush!  Be  careful!  Even  if  Aton  takes 
me,  the  chain  of  lives  must  bring  us  again 
together.  It  were  but  a  brief  separation — 
a  sacrifice  of  pain  and  joy  we  both  may  offer 
as  one  being.  And  when,  in  our  next  life, 
we  meet  again,  what  ecstasy  of  strengthened, 
purified  love  would  be  ours — to  know  each 
had  been  faithful  to  the  other — for  His  sake. 

Nefertiti 

(Roused.)  Me  grow  old  in  loneliness 
while  you  satisfy  your  soul  with  selfish  wor- 
ship !  Our  sacrifice ! 

MenopJiis 
In  dreams  we  still 


56  KARMA 

Nefertiti 

We  should  never  meet;  a  dream's  a  dream. 
No  children  would  come  to  me. 

Menopkis 

You  would  not  pine.  It  would  be,  for 
both  of  us,  a  preparation  for  our  meeting 
in  a  future  life 

Nefertiti 

(Playing  on  Ms  feelings.) You  are  right, 
Menophis.  I  should  not  pine,  for  I  should 
marry  and  know  joy.  Your  sacrifice,  if 
you  choose  it,  you  may  bear  alone,  for 
Nerf  ertiti  will  not  certainly  be  lonely.  There 
is  no  lack  of  those  who  offer  life  to  her  in 
place  of  the  dream  that  Rames  sets  before 
you 

Menopkis 

Others!  Is  there  another?  Nefertiti 
!  (Approaches.) 


KARMA  57 

Nefertili 

(Withdraws.)  Rames  is  coming.  I  hear 
his  cautious  step.  Make  your  choice  with 
him.  I  will  not  influence  you.  You  wished 
to  be  alone;  I'll  leave  you.  (Makes  to  move 
away.) 

Menophis 

(With  passion  and  regret.)  One  mo- 
ment more.  Will  you  not  say  farewell? 
And  if — and  if — until  you  hear  from  my 
own  lips 

Nefertiti 

(Softly.)  If  you  decide  to  leave  me, 
Menophis,  you  will  not  quite  forget 

Menophis 

Little  Child,  you  know.  Always  I  shall 
think  of  you 

Nefertiti 

(Mocking.)  As  happy  and  light-hearted 
— with  another.  I  am  no  "dream"  to  Sethos. 


58  KARMA 

Menophis 
Your  beauty  tortures  me. 

Nefertiti 

You  do  not  torture  me;  you  cannot.  If 
you  loved  me  you  could  not  give  me  up 
so  lightly.  You  may  think  of  me — of  us— 
walking  along  this  river  bank  at  sunset  with 
laughter  and  without  regret,  talking  maybe 
of  Menophis,  and  his  passing  dream.  The 
echo  of  our  laughter  may  reach  into  your 

little  cell. 

Menophis 

(Advancing.)       Unsay    those    haunting 

words. 

Nefertiti 

It  is  but  impulse  that  betrays  you.  You 
have  a  "greater  love"  than  me.  I  have  one 
too!  Farewell.  I  shall  not  come  again  un- 
less you  call  me.  [Eocit. 

[MENOPHIS  paces  to  and  fro,  hides  his 
face  in  his  hands,  sighs,  looks  after 
the  girl,  pauses,  then  bows  his  head 


KARMA  59 

and  waits  while  RAMES  comes  up 
to  him. 

Rames 

Your  eyes  are  troubled,  although  I  cannot 
see  them.  (Looks  down  at  the  young  man's 
footsteps.)  And  your  steps  leave  an  uneven 
pattern  on  the  sands. 

Menophis 

(Looking  up. )  There  are  too  many  voices 
in  my  ears;  and  all  are  sweet.  I  know  not 
which  is  true.  I  am  unhappy  and  afraid. 
My  peace  of  yesterday  is  gone. 

Rames 

These  stars  that  watch  you  now  shall 
watch  your  future  lives  as  well.  Before  they 
pale  at  dawn  they  shall  have  marked  your 
choice.  They  are  rising  in  the  east.  They 
watch  you — and  they  wait. 


60  KARMA 

Menophis 

(Turning  his  look  away  from  the  sky.) 
I  came  here  to  find  peace — between  the  sun- 
set and  the  sunrise. 

Barnes 

Sunrise  and  sunset — the  two  great  mo- 
ments of  the  day.  Death  and  resurrection — 
the  two  great  moments  of  our  life.  ( Watches 
him  closely.) 

Menophis 

Not  death  —  a  disappearance  only 
(smiles)  for  a  little  time. 

Barnes 

(Pleased.)  To  return  again  and  again, 
each  new  life  linked  to  those  that  went  be- 
fore; and  each  determined  by  opportunities 
left  or  taken. 

Menophis 

The  choice!  Oh,  Rames,  there  are  two 
calls  in  me.  I  hear  two  voices  always.  My 


KARMA  61 

future  life  hangs  upon  the  decision  that  I 
make. 

Rames 

You  will  not  make  it.  It  will  make  itself. 
The  stronger  call  must  win  (points  across 
the  Nile  towards  the  sinking  sun}.  It  is 
whether  you  shall  live  unto  yourself  alone, 
or  consecrate  your  powers  to  Aton.  (Points 
towards  the  Temple.)  It  is  not  alone  your 
future  life  that  hangs  upon  the  choice;  it  is 
your  future  lives. 

[They  spread  their  arms  and  bow  to- 
wards the  West.  The  sun  sinks 
below  the  Libyan  horizon  of  the 
desert.  The  dusk  creeps  up. 

Menophis 

(Rising.)  If  only  the  whole  of  me  could 
choose.  I  should  then  know  that  I  am 
worthy. 

Rames 

(Approving.)  There  can  be  no  half- 
heartedness  in  the  service  of  our  Deity. 


62  KARMA 

Menophis 

( With  enthusiasm. )   Our  Deity — the  sun ! 

[Turns  and  gazes  at  the  great  Temple 

of  Aton  whose  white  columns  stitt 

gleam   in   the   golden   after-glow 

some  distance  across  the  desert. 

Rames 

(Moving  closer,  with  hand  on  his  shoul- 
der. )  Egypt,  our  great  land,  now  witnesses 
the  climax  of  her  splendour.  A  change, 
which  is  divine,  steals  over  her.  It  is  no 
longer  the  mere  disc  of  the  sun  we  worship ; 
it  is  the  power  behind. 

Menophis 

(Reverently.)  The  heat  and  glory  that 
are  in  Aton,  eternal  and  all-loving  Deity. 

Rames 

(Smiling.)  Who  calls  you  for  the  offer- 
ing of — yourself.  (Pauses.)  The  Temples 
of  our  regenerated  Egypt  demand  the  best. 


KARMA  63 

Menophis 

(Eagerly.)     And  I  might  help  towards 
this  great  uplifting? 

Rames 

( Gravely. )     Menophis,  Aton  calls  you  to 
himself. 

Menophis 

(Enthusiasm  and  awe  on  his  face.)     I 
hear  the  call! 

Rames 

(Slowly.)      But    other,    lesser,   calls    as 
well? 

Menophis 

There  can  be  no  turning  back! 

Rames 
No  turning  back. 

Menophis 
I  must  be  sure! 

Rames 
It  is  for  ever. 


64  KARMA 

Menophis 

(Very  low.)  I  know  which  call  is  high- 
est, yet  I  hear  that  sweeter  voice.  If  only 
I  could  smother  it. 

Rames 

( Understanding. )  It  is  the  lust  of  life — 
of  woman  1 

Menophis 
It  is  love. 

[The  dusk  is  turning  into  darkness. 
The  stars  begin  to  peep. 

Rames 

I  may  not  influence  you.  Years  ago  I 
heard  these  two  calls,  as  you  do,  singing  in 
my  soul. 

Menophis 

(Looking  eagerly,  tvith  respect,  into  the 
old  mans  face.)  And  you  have  never 
known  regret? 

Rames 

(Gravely.}    I  have  known  perfect  joy. 


KARMA  65 

Menophis 

To  yield  what  is  most  dear  to  another  is 
very  hard.  Oh,  Rames,  I  am  so  young,  the 
choice  is  difficult.  If  I  had  some  sign  that 
Aton  accepts  me !  (With  rising  pas- 
sion.) Aton,  guide  my  decision  and  grant 
my  choice  be  wise! 

[NEFERTITI  is  seen  returning.  SETHOS 
is  with  her.  They  are  laughing 
together.  SETHOS'  arm  is  about 
NEFERTITI.  MENOPHIS  does  not 
see  them, 

Rames 

Weigh  carefully.  Hear  every  call  with 
honesty.  Aton,  indeed,  does  call  you,  but  it 
is  all  or  nothing.  ( Withdraws  slowly  down 
river  bank  towards  the  Temple.  Waves  his 
hand  solemnly.)  I  leave  you — to  yourself. 

[Exit. 
Menophis 
Great  Aton,  guide  me. 


66  KARMA 

[Stretches  arms  to  the  sky;  looks  up  at 
stars.  Then  bows  his  head  upon 
his  hands  in  prayer.  NEFEKTITI 
draws  near  with  SETHOS. 

Sethos 

My  head  spins,  Nerfertiti.  Then  it  was 
in  play  that  you  dismissed  me?  I  can  hard- 
ly believe  my  happiness  is  real. 

[Tries  to  embrace  her. 

Nefertiti 

(Escaping  gaily.)  Everything's  real — 
at  the  moment  when — you've  got  it. 

[MENOPHIS  hears  their  voices.  Turns 
and  sees  them. 

Menophis 

With .-, .  Sethos .....!  (To  her. )  You Ve 
come  back . . . ! 

Nefertiti 

(Pretending  she  has  just  noticed  him.) 
The  river  bank  is  public,  I  believe.  All 
Memphis  will  be  here  presently — this  sacred 


KARMA  67 

night.  (Mocking.)  Forgive  me — forgive 
us — if  we  disturbed  your  meditations. 
(Glancing  at  SETHOS.)  We  enjoy  the  star- 
light like  the  other  lovers! 

Menophis 
Together ! 

Sethos 

A  young  girl  does  not  come  out  unat- 
tended. I  am  proud  that  Nefertiti  accepts 
my  protection — as  before. 

Menophis 
Little  Child! 

Nefertiti 

(To  SETHOS,  laughing.)  Menophis,  you 
know,  is  half  a  priest  already.  He  has  put 
aside  all  common  things — youth,  dancing, 
laughter — love. 

Sethos 

(Half  insolently.)  Wise  Menophis!  I 
envy  a  man  grown  old  before  his  time.  He 
has  had  some  bitter  disappointment  prob- 
ably. 


68  KARMA 

Menophis 

(Suffering  keenly.)     If  you  really  love 

each  other,  I 

Sethos 

Come  this  way,  Nefertiti.  I  hear  a  pipe. 
(Melody  on  pipe  heard  faintly.)  Let's  go 
and  dance.  This  atmosphere  is  too  holy. 
(Tries  to  drain:  her  away.) 

Menophis 

(Pain.)  Can  this  be  a  sign  from  Aton — 
that  you  are  worthless? 

Nefertiti 

(Stung.)  We'll  dance,  yes,  as  we  did  at 
Memphis  when  the  harvest  ripened.  And 
then  we'll  bathe  together,  Sethos.  It  all  is 
worship,  and  my  blood  this  sacred  night  is 

burning 

Sethos 

(Wild.)  And  to-morrow  I  may  see  your 
father ? 


KARMA  69 

[NEFERTITI  whispers  in  Ms  ear.  They 
laugh.  He  tries  again  to  kiss  her. 
She  escapes  again,  and  dances  se- 
ductively, taking  care  to  go  close 
past  MENOPHIS.,  who  makes  several 
half  movements  towards  her,  but 
controls  himself. 

Neferiiti 

(Singing  mischievously  to  the  tune  of  the 
distant  pipe,  and  holding  SETHOS  by  the 
hand.    As  she  goes  past  MENOPHIS  she  holds 
out  her  free  hand  to  him  temptingly.) 
"Come,  dance  together.    Take  my  hand 

Beside  the  rising  river; 
We'll  dance  upon  the  starlit  sand, 

And  then  through  life — for  ever!" 

Menophis 

(Catching  at  her  hand  as  she  flits  past.) 
Nefertiti! 

Nefertiti 

(Escaping  his  touch.    Still  hand  in  hand 
with  SETHOS.)     I  heard  a  dead  voice  call- 


70  KARMA 

ing  from  a  Tomb.     (To  SETHOS.)     It's  not 
for  us.    We  are  alive! 

[Sings  as  bejore,  glancing  mockingly 
at  MENOPHIS,,   who   again  would 
seize  her  as  she  goes  by. 
"The  rising  river  takes  our  feet, 

And  life  flows  full  of  laughter; 
Come,    dance    with    me    while    youth    is 
sweet " 

Menophis 
( Touching  her. )    Little  Child ! 

Nefertiti 

(Slowing  down.  Sings  last  line  linger- 
ingly.) 

"The  wedding  follows  after!'* 

Menophis 
My  Little  Child. 

Sethos 

(Trying  to  draw  her  away.}  Come,  Ne- 
fertiti. Come  with  me,  lest  the  Temple 
snatch  you,  too. 


KARMA  71 

Menophis 

Listen!  The  waters  wait  the  sign! 
(Warningly.)  A  few  brief  moments  and 
the  Tear  of  Isis  falls — and  the  choice  is 
made,  not  for  this  life  only,  but  for  ever. 
(Solemnly  to  NEFERTITI. )  You  would  bind 
your  soul  to  his ...  for  all  future  lives .  .  .  for 
ever? 

Nefertiti 

(Drawing  back.)  "For  ever"!  "For  all 
future  lives"!  For  an  hour — a  few  hours, 

perhaps 

Sethos 

You  swore  to  me  that  you 

Nefertiti 

I  danced  and  played  and  sang  with  you. 
You  dance  lightly  and  your  voice  is  sweet. 
But — if  it  is  true  that  vows  taken  to-night 
can  bind  me  to  your  soul  for  ever 

Menophis 
It  is  true. 


72  KARMA 

,  > 

Nerfertiti 

. .  .the  journey  would  tire  me. 

Sethos 
Nef  ertiti ! 

Menophis 

(Steps  between  them.  NEFERTITI  hesi- 
tates.) Let  her  alone.  Since  her  eyes  first 
opened  to  the  sun  she  has  been  mine.  A 
hundred  future  lives  shall  take  our  feet  to- 
gether. And  she  knows  it.  She  plays  with 
you — this  singing,  dancing.  She  lives  with 
me.  (Seizes  her,  all  else  forgotten.)  Leave 
us  together,  Sethos.  Go! 

Nefertiti 

I  played  with  you.    You  know  it.     (To 
MENOPHIS.)      You  had  forgotten  our  ap- 
pointment!   I  did  it — for  my  love's  sake. 
[SETHOS  shrinks  from  his  sudden  vio- 
lence, startled,  but  keeps  her  hand. 

Menophis 
She  has  finished  with  you.    Go! 


KARMA  73 

Sethos 

'(Sneers.}  Finished!  You  are  mistaken, 
Menophis.  Only  a  while  ago  she  said  my 
love  was  precious  to  her — (Realising.)  You 
(to  her)  have  strange  ideas  of  play.  You're 
a 

Menophis 

(Threateningly.)  Enough,  Sethos.  You 
knew,  at  least,  that  we  belonged  to  one  an- 
other. You  have  yourself  to  blame. 

Nefertiti 

(Proud  of  him.)  Of  course.  Sethos  says 
the  same  sweet  things  to  many  another 
maiden  too. 

Sethos 

(Bitterly.)  The  Gods  have  set  me  free 
of  you,  and  I  am  glad.  When  next  we 
meet,  Menophis,  you  shall  hear  the  soft 
promises  she  made  me  (turns  his  back  to 
go).,  and  how  she  spoke  of  you!  (Moves 
faster,  as  MENOPHIS  advances  threatening- 
ly.) She  called  you  half  woman  and  half 


74  KARMA 

monk — no  man  at  all  (runs),  fit.  .  .only. . . 
for..;. the  Temples!  [Exit. 

Neferiiti 

(A  last  shot  at  him.)  Yet  if  I  raised  my 
little  finger  you'd  come  tumbling  back — a 
helpless  slave!  (Turns  to  MENOPHIS.)  I 
am  ashamed.  (Demurely.)  I  did  pretend 
he  pleased  me. 

Menophis 
Little  Child.-.-. 

Nefertiti 

(Happy.)  I  was  a  little  jealous  of — of 
— your  Aton. 

Menophis 

And  I,  perhaps,  of  your . . .  Sethos. 
[They  smile  and  embrace.     The  pipe 
is  heard.     She  breaks  away  and 
dances  before  him  happily. 

Nefertiti  (sings) 

"Come,  dance  with  me,  and  take  my  hand 
Beside  the  rising  river; 


KARMA  75 

We'll  dance  upon  the  starlit  sand, 
And  then  through  life — for  ever." 

MenopJtis 
You  are  a  daughter  of  the  sun! 

Nefertiti 
Isis  and  Aton  both  are  in  our  blood! 

Menophis 

Your  beauty  blinds  me.  I  hear  no  other 
voice  than  your  dear  singing.  I  see  no 
stars,  your  twinkling  feet  are  everywhere. 

Nefertiti 

(Triumphantly.)     It  is  the  call  of  Life. 
\_A   sound  is  heard,,  like  wind  in  an 
EoUan  harp,  faint. 

Menophis 

(Startled.)    Listen!    The  moment  comes. 
[With  the  sound  is  mingled  the  lapping 
of  water. 


76  KARMA 

Nefertiti 

(Awed.)     It  is  here. 
\_A  star  falls  from  the  sky. 

Both  together 
The  Tear  of  Isis! 

Menophis 
Our  river  takes  it. 

Nefertiti 
The  waters  rise. 

Menophis 
Our  choice  is  made — for  ever. 

Nefertiti 

My  beloved.     (Embrace.)     Mine. .  .for 
ever  and  ever ...  all  our  future  lives. 

Menophis 

The  Temple  was  a  dream.    Your  beauty 
makes  me  see  it.     (Breaks  off  as  he  sees 


KARMA  77 

RAMES  and  SETHOS  approaching  through 
the  palms.)  Rames  comes.  (Makes  to 
hide.)  Great  One  of  Visions! 

Nefertiti 

(Triumphantly.)  And  Sethos  with  him. 
Let  them  see  us  both.  (Catches  his  arm.) 
Do  not  hide,  but  tell  them  boldly  of  your 
glorious  choice. 

[RAMES  and  SETHOS  have  been  talking 
together.  SETHOS  now  turns  and 
goes  off  towards  the  Temple,  walk- 
ing slowly  with  bowed  head,  but 
looking  back  over  his  shoulder 
sometimes.  Disappears.  RAMES 
comes  slowly  forward.  Holds  up 
his  hands  to  bless  them. 

Rames 

(Smiling  gravely.)  May  Aton  bless  you 
both — now — and  in  all  lives  to  come. 

Nefertiti 

(Confidently.)  Aton  has  blessed  us — 
both. 


78  KARMA 

Menophis 

(Dazed,  troubled.)  Rames — you  come  to 
know  my  choice.  ( Very  gravely. )  The  Tear 
has  fallen.  The  river  is  rising,  and  I — 
(lowers  head)  I  have  heard  the  call. 

Rames 

The  choice  is  yours — (solemnly)  and 
Tiers. 

Menophis.     I  havel     .  ~. 

Nefertiti.     He  has  f 
mg  waters  and  the  risen  stars  bear  witness. 

Rames 
They . . .  bear..-. .  witness. 

Menophis 

(Half  sadly  to  RAMES.)  I  have  weighed 
both  voices.  Another — a  worthier  than  I — 
must  replace  me  in  the  Temple. 

Rames 

Aton  does  not  compel.  The  call  will  come 
to  you  again — in  following  lives,  until 


KARMA  79 

Nefertiti 

(Interrupting.)  Our  love  comes  from 
Aton.  He  has  given  Menophis  to  me  for 
my  own. 

Rames 

All  gifts  are  his. 

Menophis 
Holy  Rames,  I  cannot  let  her  go  from  me. 

Rames 

(Solemnly.)  The  choice  is  made.  The 
future  lives  will  bring  again,  and  yet  again 
(turning  to  NEFERTITI),  this  same  deep  op- 
portunity, when  you — again — shall  lead  his 
soul  higher,  or  (with  emphasis)  delay  and 
hinder  by  vain  selfish  love. 

Nefertiti 

'(Defiant,  yet  frightened.)  He  is  mine 
— for  ever.  No  priest  or  god  shall  rob  me 
of  him.  I  keep  him  for  myself.  (Clutches 
him. ) 


80  KARMA 

Rames 

The  rising  water  bears  witness  to  your 
vow.  (With  prophetic  and  intense  grav- 
ity.) Where  the  Temple  gleams  white  in 
the  sunlight,  and  where  the  palaces  run 
down  to  the  sea,  you  shall  hear  the  waters 
in  your  soul — and — shall — remember. 

Nefertiti 
(Alarmed.)  Listen!     He  prophesies! 

Menophis 
(Awed.)     Great  One  of  Visions! 

CURTAIN 


ACT  II 

THEIR  SECOND  LIFE  TOGETHER. 

TIME— 325  B.C. 

GREECE 


CHARACTERS 

PHOCION  (40),  Athenian  General. 

LYDIA  (35),  his  wife. 

LYSANDER,  a  youth,  PHOCION'S  brother. 

ALEXANDER  THE  GREAT. 

ATHENIAN  CITIZENS. 


ACT  II 

SCENE — Room  in  PHOCION'S  house  in  Athens. 
Simple.  Altar  to  Zeus  with  brazier  burning.  Col- 
onnade with  pillars  and  view  towards  Acropolis. 

Late  evening. 

(  LYDIA  is  half -kneeling,  half -leaning  over 
the  marble  balustrade.,  gazing  into  the  dis- 
tance. Enter  PHOCION.  He  comes  near 
and  touches  her.) 

Lydia 

How  you  startled  mel 

Phocion 

Were  your  thoughts  so  far  away,  Little 
Child? 

Lydia 
I  was  thinking. 

Phocion 

And  gazing  across  the  sea  as  usual.  What 
is  there  so  attractive  beyond  that  dim  hori- 
zon? The  future  or ? 

83 


84  KARMA 

Lydia 

Perhaps  its  dimness  only.  That's  south- 
wards, is  it  not?  There  Egypt  lies,  and — 
Alexandria — you  said — the  great,  new  city. 

Phocion 

(Searchingly.)  Distance  still  haunts 
your  eyes.  Little  wonder  that  I  startled 
you.  (Kisses  her.)  But  do  not  speak  of 
Alexander's  city.  Our  thoughts  lie  nearer 
home — in  Athens. 

i 

Lydia 

Where  have  you  been,  Phocion?  All  day 
I've  missed  you. 

Phocion 

On  the  hills — alone.  I  have  been  think- 
ing. 

Lydia 
Thinking — you  too! 


KARMA  85 

Phocion 

I  came  home  by  way  of  Theseus'  Temple, 
saying  a  prayer  for  our  loved  city  and  for 
ourselves. 

Lydia 

But  you  are  weary,  and  your  feet  are 
splashed  with  mud. 

Phocion 

I  crossed  the  Ilissus  to  be  sooner  home, 
and  found  it  rising — in  flood  almost.  Yes- 
terday's rains  on  Mount  Hymettus — 
(breaks  off  as  she  makes  a  sudden  gesture). 
Why,  what  ails  you,  Lydia?  Do  I  startle 
you  a  second  time? 

Lydia 

Forgive  me,  Phocion;  do  not  notice  my 
little  weaknesses.  It  was  merely — there, 
I've  often  told  you — a  rising  river  is  an 
omen  that  causes  me  strange  uneasiness. 


86  KARMA 

Phocion 

Little  Child,  I  understand.  I  know  your 
feelings.  Athens  herself  is  on  edge  these 
days — and  little  wonder. 

Lydia 

Phocion,  let  me  tell  you  honestly — I  am 
afraid. 

Phocion 

Anxious,  perhaps,  but  not  afraid.  The 
mood  of  our  beloved  city  takes  you  with  it, 
as  it  takes  us  all.  We  all  are  patriots  to-day. 
But  the  wife  of  Phocion  has  proved  herself 
no  coward. 

Lydia 

(Low  voice.)  Alexander  is  so  powerful. 
Some  say  the  Macedonian  is  a  God. 

Phocion 

Pshaw!  In  his  own  land,  perhaps.  But 
Athens  has  her  own  Gods.  He  is  a  con- 
queror, yes;  but  a  conqueror  can  only  take 
a  city,  not  the  souls  who  dwell  in  it. 


KARMA  87 

Lydia 

(Softly.)  Phocion,  when  I  hear  your 
words  my  fear  melts  away.  Yet  Athens  is 
conquered.  Our  city  trembles 

Phocion 

Hush,  Lydia.  I  do  not  like  to  hear  you 
say  such  things. 

Lydia 

Who  can  stand  against  him,  then?  Who 
is  there  can  oppose  this  conqueror  of  the 
Persians? 

Phocion 

Every  Athenian — every  Greek  who  loves 
our  city  more  than  he  fears  the  Macedonian. 

Lydia 
All  Athens,  then! 

Phocion 
All  the  best  in  Athens. 

[LYDIA  looks  nervously  over  her  shoul- 
der towards  the  city  and  Acropolis. 


88  KARMA 

The  dusk  deepens.    The  first  star 
shows. 

Lydia 

(Shudders.)  Your  speech  is  often  mys- 
terious like  this  now — dark  with  meaning. 
Each  night  as  twilight  gathers  from  the 
sea  about  our  city,  there  are  footsteps  on 
the  causeway  that  make  me  tremble.  No 
sooner  has  Hymettus  darkened  than  shad- 
ows move  silently  over  the  courtyard  and 
between  the  pillars.  (Turns  and  flings  her 
arms  about  him.)  Oh,  my  Phocion,  it  is 
for  you,  not  for  myself,  I  am  afraid. 

Phocion 

Calm  yourself,  beloved.  I  am  an  Athen- 
ian who  obeys  his  unconquerable  Gods.  I 
do  no  more  than  accept  the  destiny  they 
lay  upon  him  who  loves  his  country 

Lydia 
But  if  Alexander  discovered  you — if ! 


KARMA  89 

Phocion 
Discovered  me!    What  thought  is  this? 

Lydia 

If  he  discovered  you  were  true  to  Athens, 
I  was  about  to  say.  If  he  took  you  from 
me!  Oh,  Phocion!  In  dreams  I  have  seen 
you  lying  dead  at  his  feet — lost  to  me  for 
ever. 

Phocion 

Not  lost,  most  loving  woman.  If  the 
Gods  take  me — if  I  die  for  Athens 

Lydia 
Am  I,  then,  less  than  Athens? 

Phocion 

Athens  is  great  because  of  women  like 
you,  Lydia.  You  would  not  see  her  less? 

Lydia 
How  less? 

Phocion 

Less  free.     Liberty  is  the  breath  of  life. 


90  KARMA 

Lydia 

What  is  my  liberty  if  I  lose  you?  Your 
voice,  your  touch,  your  living  presence  here 
beside  me  (embraces  him) — I  want  you 
alive  and  loving 


Phocion 

Our  love  has  grown  with  Athens.  On  the 
green  Cephissian  banks  we  first  discovered 
it,  and  that  evening  on  Hymettus  when  the 
honey — ah,  I  see  it  in  your  eyes,  dear  heart 
—you  remember  even  as  I  remember.  If 
Athens  live 

Lydia 

But  if  you  die!  If  Alexander  crush  you, 
kill  you!  Oh,  my  Phocion,  this  struggle 
against  the  conqueror  is  vain.  You  tempt 
the  Gods.  I  fear  for  you  and  for  your  hope- 
less schemes 

Phocion 
My  schemes!    Lydia,  what  do  you  know? 


KARMA  91 

Lydia 

I  suspect  only.  I  feel  you  planning  dan- 
gerous things  that  must  take  you  from  me. 
Those  silent  footsteps  on  our  causeway  in 
the  dusk,  the  shadows  that  pass  between  the 
pillars,  the  rising  waters — Phocion!  your 
strange  deep  love  of  Athens  takes  no  account 
of  me,  your  little,  suffering  wife. 

Phocion 

The  love  of  Athens  is  ours.  It  is  the  love 
of  country  that  the  Gods  call  sacred.  (Looks 
out  across  the  fading  city.)  Hellas,  your 
valleys  and  mountains,  streams  and  happy 
groves . . .  beautiful,  beloved .  . .  who  would 
not  die  for  you . . . ! 

Lydia 

I  love  you.  If  you  live  for  me,  you  live 
for  Hellas  even  more.  Athens  lives  in  our 
hearts,  not  otherwise. 


92  KARMA 

Phocion 

(Sternly.)  If  a  barbarian  rule  our  dear 
city,  our  hearts  are  dead.  It  is  better  for 
my  heart  to  mingle  with  the  soil  of  Hellas 
than  beat  as  the  slave  of  Alexander. 

Lydia 

I  love  you  too  much  to  see  you  run  on 
death.  Your  wild  plot  to  save  our  city  is 
but  the  Fates'  way  of  taking  you  away  from 
me. 

Phocion 

Try,  Lydia,  to  love  me  as  I  love  Athens. 

Lydia 

You  ask  too  much  of  me.  I  love  Hellas, 
but  I  love  you  more. 

Phocion 

Then — not  enough.  (Looks  away.)  You 
make  it  hard  for  me.  I  see  the  right  so 
clearly,  but  your  clinging  love  makes  me 
weak. 


KARMA  93 

Lydia 

There  is  nothing  in  the  world  for  a  woman 
but  her  love.  If  you  were  lost  to  me, 
Phocion,  these  lips  could  kiss  one  other  only 
— the  rising  flood  (shudders)  of  our  little 
Athenian  river — or  the  sea, 

Phocion 

What  comes,  sweet  wife,  comes  to  both  of 
us  together.  You  are  overwrought  with 
sleeplessness  and  watching.  Trust  me  and 
love  me — more  I  cannot  tell  you  now.  Your 
love  shall  give  me  strength.  (He  embraces 
her  and  moves  slowly  off  towards  the  colon- 
nade.) And  if  there  is  a  greater  love  than 
yours,  some  day  we  shall  find  it — know  it 
both  together.  What  comes  to  me  to  do 
now — I  must  do.  [Goes  slowly  off. 

Lydia 

(At  him.)  A  greater  love!  Ah,  Phocion 
— you're  going  from  me — going  towards 
death.  I  know  not  what  you  mean.  There 


94  KARMA 

is  no  greater  love.  (Watches  him  disap- 
pear.) Then  I  must  save  you,  since  you 
will  not  save  yourself.  I  cannot  lose  you. 
My  love,  I  cannot  let  you —  ( Covers  her  face 
with  her  hands).  My  love  shall  save  you 
from  yourself.  If  I  do  wrong  the  Gods 

forgive 

[Knocking  is  heard.     She  starts  and 

looks  round.  A  MESSENGER  is  seen 

in  the  courtyard. 
( Cautiously. )    You  would  see — whom  ? 

Messenger 
The  wife  of  Phocion. 

Lydia 

(Frightened.)  Hush!  Come  softly,  I 
am  she.  (MESSENGER  enters  stealthily.) 
You  bring  a  message  for  me?  You  bring 
a  token? 

Messenger 

( With  respect. )  She  who  sends  me  bids 
me  sav  as  token  this:  From  one  who  loves 


KARMA  95 

her  Lord  more  than  his  earthly  glory — to 
her  who  loves  as  greatly. 

Lydia 

(Faintly.)  To  her  who  loves  as  greatly. 
(Hesitates,  shows  agitation,  a  distraught  ex- 
pression on  her  face. )  It  is  to  save  him  that 
I  do  it — to  save  his  life  for — both  of  us. 
(Turns  to  MESSENGER.)  Your  great  mis- 
tress bid  you  bring  an  answer  back  to  her? 

Messenger 
Without  delay — my  orders  are. 

Lydia 

Have  you  no  more  to  say?  No  further 
message?  Do  you  bring  only  the  token  that 
you  come  from  her? 

Messenger 

She  bid  me  say  that  you  should  feel  per- 
fect confidence. 

Lydia 

The  word  of  Alexander ? 


96  KARMA 

Messenger 
Has  been  given,  and  cannot  change. 

Lydia 

Though  it  concern  the  life  of  one  who  was 
his  enemy? 

Messenger 

The  Queen  bid  me  assure  you.  He  has 
given  her  his  promise.  It  will  not  alter. 

Lydia 

(Whispers.)  Then  take  this  message 
back  to  her  who  sent  you :  To  one  who  comes 
hither  to-night  when  the  moon  is  high 
enough  to  cast  a  shadow  I  will  reveal  what 
I  have  promised  to  reveal.  In  return  I  claim 
the  boon  the  conqueror  has  sworn — through 
her — to  give  me. 

Messenger 

Her  word  and  <his  are  both  securely  given. 
I  take  back  yours. 


KARMA  97 

Lydia 

Go  swiftly,  silently.    I  shall  await  fulfil- 
ment here — when  the  moon  is  high  enough 
to  cast  a  shadow  on  the  marble  causeway. 
Behind  that  pillar  I  shall  wait.    Go  swiftly! 
[Eocit    MESSENGER.      LYDIA,    looking 
anxiously  at  the  sky.,  withdraws  in- 
to   the    shadow    of    the    pillars. 
PHOCION  enters,  his  arm  upon  the 
shoulder  of  LYSANDER,  his  youth- 
ful    brother.      LYDIA    overhears 
their  talk. 

Lysander 

(With  enthusiasm.)  Our  last  meeting 
now,  and  then  to  action.  Oh,  Phocion,  I 
feel  the  Gods  are  with  us.  Your  daring 
shall  save  Athens,  and  Hellas  will  live — 
even  if  we  die. 

Phocion 

We  all  stand  or  fall  together.  They  are 
picked  men,  and  heroes ;  no  one  among  them 
thinks  of  self.  The  risk,  of  course,  is  great, 


98  KARMA 

but  it  is  nothing  when  the  stake  is  consid- 
ered. 

Lysander 

Everything  favours  us.  The  best  troops 
of  Alexander's  army  are  still  in  Egypt. 
The  entire  city  is  behind  us.  All  Athens 
will  rise  when  it  sees  you  are  our  leader. 
(Vehemently.)  We  shall  drive  the  proud 
Macedonian  out.  Oh,  I'm  glad  the  talk  is 
over  soon!  I  burn  for  action. 

Phocion 

I,  too,  want  action.  I  am  not  made  for 
stealth  and  for  conspiracy.  Plotting  and 
hesitation  weary  me.  (Sighs.) 

Lysander 

Phocion,  you  feel  no  doubt,  though — ?  I 
heard  you  sigh.  Are  you  less  sure  of — of 
anything? 

Phocion 

For  myself,  boy,  I  have  no  doubt.  For 
Athens  I  am  sure  and  strong.  Did  I  sigh 


KARMA  99 

perhaps?  If  so — if  so,  it  was  for  others 
whose  lives  I  hold  in  trust.  For  others — 
the  truest,  best,  and  bravest  men  in  all 
Athens. 

Lysander 

The  Gods  will  bear  that  burden  for  you, 
Phocion. 

Phocion 
Yes,  yes ;  the  Gods  will  bear  it — partly. 

Lysander 

No  one  can  lead  but  you.  We  are  of  one 
accord. 

Phocion 

I  will  lead,  Lysander.  Have  no  fear.  Of 
myself  I  do  not  think.  (Looks  out.)  The 
moon  is  up.  I  see  the  evening  star  o'er 
Salamis.  They  will  be  here  very  shortly. 

Lysander 

We  are  quite  safe  here.  I  took  the  pass- 
word round  myself  at  noon. 


100  KARMA 

Phocion 

We  cannot  be  too  cautious.  Alexander's 
spies  are  more  numerous  than  the  bees  upon 
Hymettus.  They  can  sting  as  sharply  too. 

Lysander 

Oh,  our  secret  is  well  guarded.  Yet  the 
least  whisper  or  thoughtless  word  could  so 
easily  betray  us.  (Looks  round  with  a  mo- 
ment's hesitation,  then  continues  in  a  lower 
voice.)  I  only  would — that  Lydia 

Phocion 

Lydial 

Lysander 

She  is  in  great  favour  with  Alexander's 
queen,  Statira. 

Phocion 

So  much  the  better!  Since  she  knows 
nothing  there  is  nothing  she  can  reveal. 
Alexander  seeks  to  play  the  generous  con- 
queror. That  the  wife  of  Phocion  accepts 
favours  that  Phocion  spurns  can  only  save 


KARMA  101 

us  from  suspicion.  The  Persian  woman 
helps  us  without  knowing  it.  And  so  does 
Lydia ! 

Lysander 

You  are  right,  Phocion.  The  Gods  show 
their  will  in  little  things  like  this.  We  are 
under  their  protection.  Yet  if  word  reached 
Alexander  of  our  gathering  in  your  house 

to-night 

Phocion 

Keep  your  words  for  later,  boy ;  you  waste 
your  strength.  How  can  you  hold  such  idle 
thoughts?  Hellas  a  Macedonian  province! 
Her  ancient  liberties  crushed !  Our  last  hope 
dead  as  soon  as  born,  and  no  blow  struck! 

Lysander 

Phocion,  forgive  me!  And,  Selene,  in 
yonder  rising  moon,  forgive  me  too.  The 
Gods  protect  and  help  us! 

Phocion 

Pallas  Athena,  give  us  wisdom  to  plan 
and  strength  to  strike. 


102  KARMA 

[LYDIA  comes  forward  from  her  hiding- 
place  among  the  columns.  The 
moonlight  falls  on  her.  As  she 
moves  she  notices  that  it  casts  a 
shadow.  She  hurries.  LYSANDER 
watches  her  somewhat  closely. 
Ah,  Lydia. 

Lydia 
You    did    not    call    me,    Phocion?      It 

seemed 

Phocion 

(SmiUng.)  Your  maidens  called  you 
to  the  bath.  It  is  your  bathing  hour. 

Lydia 

(To  LYSANDER.)  Lysander,  good-even- 
ing! You  are  fortunate.  (Half  laughing, 
half  jealous.)  Phocion  has  more  time  for 
his  brother  than  for  his  wife. 

Lysander 

Had  I  a  wife  as  brave  and  faithful  as  my 
brother  has,  I  should  be  more  fortunate 


KARMA  103 

still!    These  are  grave  times,  good  Lydia, 
for  true  Athenian  men. 

Phocion 

Ah,  Lydia  knows  too  well,  Lysander.  But 
do  not  detain  her  now.  ( To  LYDIA.  )  I  will 
come  later  for  you,  Little  Child — an  hour  at 
the  most. 

Lydia 

I  am  always  ready  for  you,  Phocion,  and 
always  true.  I,  too,  am  an  Athenian. 

Phocion 
The  Gods  watch  over  you! 

Lydia 
And  over  you ! 

[PHOCION  moves  to  the  balustrade  and 
leans  over,  watching  the  night.  He 
waits  for  her  to  go.  LYDIA  turns 
to  LYSANDER  and  speaks  low  and 
hurriedly. 

You  love  him,  I  know,  Lysander,  and  he 
loves  you. 


104  KARMA 

Lysander 

Before  he  even  knew  your  name,  I  loved 
Phocion,  (sternly)  and  more  than  Phocion 
I  love  Phocion's  honour. 

Lydia 

And  so  loving  him  you  would  urge  him — 
to  his  death.  (With  passion.)  You  shall 
not,  Lysander;  Phocion  is  mine  and  he  be- 
longs to  me.  I  will  hold  him  fast  to  this 
life.  A  glorious  career  now  lies  at  Phocion's 
feet. 

Lysander 

I  love  Phocion's  honour  too  well  to  tempt 
him  to  dishonour. 

Lydia 

Tush,  boy!  You  do  not  understand.  I 
would  not  tempt  him.  Fate  does  not  tempt, 
it  commands.  The  high  Gods  bid  us  to 
accept  fate  bravely.  The  weak  resist  it ;  the 
strong  accept  and  make  it  glorious.  And  a 
glorious  career  now  lies  at  Phocion's  feet. 


KARMA  105 

Lysander 

You  speak  with  knowledge,  Lydia?  If 
so,  how  come  you  by  such  knowledge? 

Lydia 

Hush,  not  so  loud.  Lysander,  you  faith- 
ful brother,  I  tell  you  it  is  common  knowl- 
edge. The  Military  Governorship  of  Alex- 
andria— once  offered  to  Phocion  already 
and  refused  by  him — is  open  to  him  still. 
Alexander  knows  his  worth 

Lysander 

His  incorruptibility  too.  But  how  know 
you  this,  Lydia? 

Lydia 

I  only  know  that  Alexander  is  generous 
and  will  raise  him  to  even  greater  honour. 
He  places  Phocion  above  all  men  in 

Athens 

Lysander 

(Coldly.)  Has  Alexander's  queen  in- 
formed you  thus.  (Louder.)  It  seems 


106  KARMA 

strange  to  me,  Lydia,  that  the  wife  of — an 
Athenian  patriot 

Phocion 

How  loud  your  voices  grow.    Lydia,  Lit- 
tle Child,  you  had  best  leave  us  now,  for 
Lysander  and  I  have    grave    business    to 
transact  together — and  we  expect  others  too. 
[There  is  a  low  knocking  at  the  door. 

Lydia 

Lysander  chides  me  that  I  accept  kind- 
ness from  the  queen  of  Athens'  conqueror. 

Phocion 

I  see  no  harm  in  that,  and  possibly  much 
good.  Your  love  will  ever  guide  you.  Fare- 
well, now,  for  a  little  while.  And  happiness 
go  with  you! 

Lydia 

I  leave  you.  It  is  your  friends  who  come 
to  you  at  twilight  now  so  often.  The  Fates 
protect  you,  my  Phocion!  (Whispers  to 
LYSANDEE  as  she  goes.)  Oh,  save  him, 


KARMA  107 

Ly  sander!    Save  him  from  himself — forme, 

his  wife! 

[Exit  slowly,  looking  bock  fondly  at 
PHOCION  as  she  goes.  LYSANDER 
watches  her  with  an  expression 
that  betrays  doubt,  anxiety  and 
disapproval.  He  shakes  his  head. 
The  knocking  is  repeated.  It  is  a 
definite  knock  that  has  been  pre- 
arranged. 

Phodon 

Open,  Lysander.  It  is  the  Citizens. 
[A  dozen  CITIZENS  enter  quietly.  Their 
leader  holds  a  scroll  in  his  hand.  In 
turn  they  greet  PHOCION  with  ob- 
vious respect,  each  giving  the  pass- 
word, while  PHOCION  replies  with 
the  countersign: 

Citizen 
The  Gods  deliver  Athens! 


108  KARMA 

Phocion 
They  will  deliver  her! 

[When  all  are  in,  they  group  them- 
selves.   An  elderly  CITIZEN,  hi.  cl- 
ing the  scroll,,  acts  as  spokesman. 
It  is  safest  our  meeting  should  be  brief, 
and  no  words  wasted. 

First  Citizen 
We  stand  for  action. 

Second  Citizen 
Immediate  action. 

Third  Citizen 

Each  day  that  passes  consolidates  the  bar- 
barian power  that  would  ruin  Athens. 

Lysander 

Citizens,  we  need  two  conditions  for  suc- 
cess— to  strike  hard,  and  to  surprise. 


KARMA  109 

Phocion 

We  must  move  warily.  The  Macedo- 
nian's spies  hide  everywhere,  and  money  has 
been  flowing. 

Lysandei 

There  are  ten  thousand  hearts  in  Athens 
above  gold ! 

Phocion 

(Gravely.)  Our  preparations  must  be 
sure.  You  bring  to-night  the  list  of  pa- 
triots? 

First  Citizen 

It  is  drawn  up  (holds  out  scroll) .  Twenty 
names  stand  written  here,  each  signed  by  his 
own  hand,  each  guaranteeing  three  hundred 
men  of  arms 

Phocion 
Whom  we  can  trust? 

First  Citizen 

The  names  are  guarantee,  as  you  will  see 
— the  best  in  Athens. 


110  KARMA 

Second  Citizen 

Ready  to  live  or  die  as  our  beloved  city 
lives — or  dies. 

Lysander 

And  thousands  more  will  follow  once  we 
show  the  way. 

Phocion 

Our  forlorn  hope  (takes  the  scroll)  is 
favoured  of  the  Gods,  and  will  be  led  by 
them.  [Begins  to  read  names. 

Citizen 

Upon  great  leadership  hangs  success  or 
failure.  There  can  be  one  leader  only. 

Citizens 
Phocion!    Phocion! 

Lysander 
Phocion  is  our  leader. 

[PHOCION    reads   rlently.     LYSANDER 
suddenly  turns  his  head  towards 
the  moon-lit  courtyard. 
(Low.)     I  saw  a  figure  pass. 


KARMA  111 

Citizen 

A  few  moments  ago  I  saw  one  too — be- 
tween the  pillars. 

Another  Citizen 
Are  we  alone  here? 

Phocion 

(Looking  up.)  My  wife — and  her  maid- 
ens— are  about.  We  are  alone. 

First  Citizen 

Once  read,  Phocion,  the  list  must  be  in- 
stantly destroyed.  Each  signature  is  a  war- 
rant for  the  writer's  death. 

Lysander 

(Nervously.)  I  counsel  haste.  The  very 
stones  move  as  with  footsteps.  The  sky  has 
eyes. 

[Turns  towards  a  burning  brazier  close 
behind  him. 


112  KARMA 

Phocion 

(Calmly.)  I  have  read.  The  names  are 
— what  Athens  would  expect. 

Lysander 
Then  let  me  burn  it. 

First  Citizen 

(Rising.)  Phocion,  in  the  names  you 
read,  and  in  the  names  of  all  assembled  here, 
we  offer  you  the  leadership — the  military 
leadership.  We  ask  you  to  lead  our  beloved 
city  back  to  liberty  again.  (Muffled  ap- 
plause. ) 

[While  PHOCION  has  been  reading,  a 
woman's  figure  is  seen  creeping 
from  pillar  to  pillar  where  the 
shadows  are  deepest.  She  is  fol- 
lowed closely  by  a  second  figure — 
a  man  swathed  in  a  head-dress  such 
as  that  worn  by  the  Persian  war- 
rior in  the  Elgin  Marbles.  Un- 
noticed in  the  dimness  they  reach 


KARMA  113 

the  colonnades  where  they  can  hear 
all  that  passes. 

Phocion 

(Slowly.)  Citizens,  in  the  name  of 
Athens,  and  with  the  approval  of  the  death- 
less Gods  of  Athens — I  accept  the  leader- 
ship. 

[He  hands  the  scroll  to  LYSANDER,  who 
has  stepped  forward  eagerly  to 
seize  it.  LYSANDER  turns  towards 
the  fire. 

First  Citizen 

Then  we  are  half-way  to  success  already. 
(Applause.)  The  sooner  we  disband,  the 
better.  Three  of  us  may  stay  with  Phocion 

to  decide  the  final 

[At  this  moment  the  cloaked  figure 
steps  out  into  the  centre  of  the 
courtyard.  He  is  plainly  visible 
in  the  moonlight.  Consternation 
reigns.  PHOCION  reaches  for  his 


KARMA 

sword.  LYSANDEK  fumbles  over 
the  brazier,  thrusting  the  scroll  in- 
to the  flames.  The  CITIZENS  stand 
firm,  not  trying  to  hide,  but  visibly 
startled. 


Citizen 
We  are  betrayed! 

Citizen 
A  spy!    We  have  been  overheard! 

Citizen 
A  Persian! 

Phocion 

(Self-possessed.)  No  stranger  is  unwel- 
come in  my  house,  even  though  he  enter  — 
without  permission.  (Louder  to  stranger.) 
You  would  see  Phocion?  I  am  he. 

[LYDIA  remains  hidden  in  the  shadows. 

Stranger 

(Advancing.)  I  ask  forgiveness  for  my 
unannounced  intrusion.  I  disturb  you.  But 


KARMA  115 

my  need  is  urgent.    This  is  my  warrant :    I 
am  a  messenger  from  Alexander. 

[Stands  erect  and  waits. 

Others 
From  Alexander! 

Phocion 

(Calmly.)  You  bring  Phocion  a  message 
from  Alexander? 

Stranger 
Of  first  importance. 

Phocion 
You  may  deliver  it. 

[LYSANDEE  pauses  to  Usten  too. 

Stranger 

A  gift  I  am  bid  offer  first — a  gift  from 
Egypt,  where  Phocion  fought  so  bravely 
and  so  well.  (Holds  out  an  object  of  gold.) 
From  the  Temple  of  Ammon  himself  in 
Lybia. 


116  KARMA 

Phocion 

(Coldly.)  Phocion  fights  not  for  gifts; 
nor  can  he  accept  anything  from  the  bar- 
barian conqueror  of  Athens. 

Stranger 

I  am  bid  to  urge  reflection  on  you.  First 
words  are  not  the  truest  always,  nor  the 
wisest.  (Pauses.) 

Phocion 
(Simply,  with  scorn.)    I  am  an  Athenian. 

Stranger 

(Lays  gift  on  a  marble  table  beside 
PHOCION.)  Alexander  commands  me  say 
further — that,  with  this  gift,  he  would  hon- 
our Phocion  by  yet  another  one.  He  bids 
me  call  you  the  Military  Governor  of  his 
new  city  in  Egypt. 

Phocion 

The  two  gifts  are  one.  I  have  one  an- 
swer only. 


KARMA  117 

Stranger 

(Smoothly.)  Then,  with  your  answer,  I 
ask  permission  to  take  back  some  trifle — 
such  as  that  parchment  the  youth  there 
would  destroy — as  proof  to  Alexander  that 
the  House  of  Phocion  is  loyal. 

[LYSANDER,  startled,  desists  a  moment. 
PHOCION  takes  a  sudden  step  for- 
wards. 

Phocion 
( A  larmed. )     Loyal 1 


Stranger 

(Throws  off  disguise.)     The  parchment. 
[Voice  of  command.    Holds  hand  out. 

Phocion 
Alexander ! 

[All  recognise  ALEXANDER.  Confu- 
sion, consternation,  and  murmurs: 
"Alexander!"  "Alexander!" 


118  KARMA 

'Alexander 

Hand  it  to  me,  boy,  before  another  name 
is  burned.      (Laughs.) 

[ALEXANDER  strides  towards  him.  LY- 
SANDER  defies  him.  ALEXANDER 
seizes  him. 

He  shall  be  surety,  Phocion,  for  your 
loyalty. 

[PHOCION_,  holding  his  sword,  rushes  on 
ALEXANDER  to  aid  LYSANDER,  and 
above  all  to  rescue  the  scroll.  The 
CITIZENS  stand  their  ground  and 
are  about  to  interfere.,  when  LYDIA 
rushes  in  and  throws  herself  on 
PHOCION.,  checking  his  violent  at- 
tack. At  the  same  moment  ALEX- 
ANDER stamps  on  the  marble  floor. 
SOLDIERS  enter.  PHOCION  and 
ALEXANDER  stand  facing  one  an- 
other in  silence  for  a  moment. 
I  hold  you  the  bravest  man  in  Athens, 
Phocion,  and  such  men  as  you  I  need. 


KARMA 

(Holds  out  the  scroll,  as  yet  unread.)    But 
lesser  men  than  you  I  do  not — need! 

Lydia 

Phocion !  Great  Alexander !  .^- .  S tatira 
promised  me . . .  Oh,  he  is  too  brave  to 
die...! 

^Alexander 

(To  SOLDIERS.)  Three  of  you  take  the 
boy  away.  The  rest  withdraw.  No,  let 
these  greybeards  go. 

[A  few  CITIZENS  creep  out,  following 
LYSANDEB,  and  SOLDIERS. 

Lysander 

(Calling  back  to  PHOCION.)  The  Gods 
will  not  desert  us . . . ! 

Phocion 

(With  dignity.)  You  are  the  conqueror 
of  Athens. 


120  KARMA 

*  Alexander 

Lesser  men  than  you  I  do  not  need.  Give 
me  your  allegiance  (pointing  significantly 
to  the  scroll)  and  I  give  you — these  lives! 

Lydia 

( Whispering. )  Phocion,  you  cannot  sac- 
rifice such  men! 

Citizen 

Do  not  think  of  us!  What  is  life  to  the 
conquered?  Gladly  would  we  die  for 
Athens. 

Alexander 

I  wait  your  decision,  Phocion. 

Phocion 

(Bitterly.)  Phocion,  Military  Governor 
of  Alexandria,  is  Alexander's  host. 

Alexander 

The  word  of  Phocion  is  enough.  (Burns 
the  scroll  unread. )  Lysander,  the  boy,  shall 


KARMA  121 

be  Captain  of  your  Bodyguard  in  Egypt. 
The  Gods — your  Gods — are  witness  to  what 
I  say. 

[ALEXANDER  salutes  PHOCION  and  goes 
out.  PHOCION  is  alone  with 
LYDIA.  There  is  a  moment's  si- 
lence. 

Phocion 

(Brokenly.)  Athens!  I  have  failed  you ! 
My  life  is  broken  in  pieces. 

[Hides  face  in  hands. 

Lydia 

But  I  meant  to  save  you,  Phocion.  My 
love  would  save  you.  Have  I  done  wrong? 
Oh,  tell  me. 

Phocion 

(Low.)  You  have  done — your — best.  No 
one — no  woman — can  do  more. 

Lydia 

I  could  not  face  life  without  you.  I  could 
not  see  you  die.  My  love  made  the  desper- 


122  KARMA 

ate  plan.  I  bargained  with  Alexander's 
queen — life  with  honour  and  glory  for  you 
in  Egypt,  the  land  you  love.  Oh,  Phocion, 
beloved,  do  not  judge  me  hardly.  You  do 

not  speak. 

Phocion 

(Patiently.)     There  i:  something  here  I 
cannot  understand. 

[His  hand  touches  the  gift  from  Egypt. 
He  looks  at  it  curiously,  then  looks 
out  away  from  her. 

Lydia 
I  love  you  too  much.     Is  that  hard  to 

understand? 

Phocion 

(Sadly.)     Yet  the  love  the  Gods  bring  is 
otherwise ...  I  think. 

CUETAIN 


ACT  III 

THEIR  THIRD  LIFE  TOGETHER. 

TIME— FIFTEENTH  CENTURY 

ITALY 


CHARACTERS 

PAULO  SALVIATI,  a  painter,  age  about  25. 
LUCIA,  his  wife,  a  beautiful  Florentine. 
PRINCE  DAMIANO  w  MEDICI,  art  patron. 


ACT  III 

SCENE — PAULO'S  studio  m  Venice.  A  bare  room 
of  obvious  poverty.  PAULO  painting  at  a  large 
canvas. 

(Enter  LUCIA.) 

Paulo 

( Turning  happily. )  Lucia !  At  last  you 
return.  My  love,  how  I  have  missed  you. 
(Kisses  her.)  It  seemed  so  long.  (Examin- 
ing her.)  You  are  excited!  Then  my 
uneasiness  was  not  for  nothing.  Tell  me. 
An  adventure,  perhaps?  An  admirer,  of 
course!  This  flush...!  (Laughs.)  Little 
Child...!  (Teasingly.) 

Lucia 

I've  been  but  a  short  hour,  my  Paulo. 
And,  as  for  adventures  and  admirers,  they 
have  but  one  name — Paulo.  (Looks  em- 
barrassed slightly.)  How  quick  you  are! 

125 


126  KARMA 

Paulo 
Love  makes  me  quick.     I  think  I  guess. 

Lucia 

(Ashamed  a  little.)  Listen!  (They  lis- 
ten. The  waves  of  the  sea  are  audible  beat- 
ing against  the  outer  walls.)  You  hear? 

Paulo 

(Patiently.)  I  hear,  but  I  do  not  under- 
stand. It  is  the  water  only 

Lucia 

(Lower.)  The  rising  water.  (Pauses f 
while  passing  hand  over  her  forehead. )  Nor 
do  I  understand.  It  is  my  weakness,  I  sup- 
pose. All  women  have  something  that  makes 
them  fear  without  a  reason,  and  this  is 

mine 

Paulo 

(Protectively.)  For  which  I  love  you  all 
the  more.  For  had  you  reasoned  you  would 
not  have  married  me,  (To  himself.) 


KARMA  127 

Strange,  strange. .  .  .  (Recovers  gaiety  and 
turns  to  picture. )  See  how  it  grows,  Lucia. 
All  that  I  scraped  out  yesterday  I  have 
repainted.  Long  before  the  Competition 
Day  I  shall  have  finished  it.  (Enthusiasti- 
cally. )  Look ! 

Lucia 

The  glow,  the  warmth,  the  colour — you've 
caught  it  all? 

Paulo 

I  hope  so.  But  when  my  model  and  my 
critic  desert  me  both  at  once  like  this 

Lucia 

Dear  Paulo.  (Sighs.)  And  it's  so  diffi- 
cult for  me  to  make  five  scudi  do  the  work 
of  ten.  (Shows  agitation.)  I  know,  oh,  I 
know.  (Excitement.)  Yet  somehow,  some- 
how we  shall  find  a  way.  And  it  will  be 
wonderful 

Paulo 

(Noticing  her  mood  and  wondering.)  It 
is  you  who  are  wonderful — (shakes  finger  at 
her)  intriguing  with  Fate  as  ever 


128  KARMA 

Lucia 

(Quickly.)  No,  not  intriguing.  I  am 
but  your  wife — and  model.  (Laughs.) 

Paulo 
And  inspiration 

Lucia 
And  critic 

Paolo 

And  manager !  That  is  the  wonder — that 
you  who  fled  with  a  painter  to  learn  poverty 
like  this  (shows  bare  room)  and  this  (shows 
clothes)  and  this  (touches  heart)  should  bar- 
gain so  cleverly  in  the  market-place  and 
carry  home  our  fish  and  vegetables  in  your 
coloured  apron — the  Lady  Lucia,  a  house- 
wife of  the  people! 

Lucia 

Forgetting  the  wine  as  usual,  and  drop- 
ping half  the  fish  on  my  way!  (Seriously.) 
Love  makes  it  beautiful.  It  is  for  love's 
sake,  Paulo. 


KARMA  129 

Paulo 
(Emphatically.)     And  the  work's  sake. 

Lucia 

(Quickly.)  The  work,  ah  yes,  the  work's 
sake.  (Excitedly.)  Oh,  my  Paulo,  what 
would  I  not  do — what  would  I  not  sacrifice 
for  your  advancement — I  mean,  for  your 
art,  your  wonderful  great  art.  (Confused.) 

Paulo 

(Quietly.)  This  shall  be  our  love's  first- 
fruits  (pointing  to  canvas). 

Lucia 

(Repeats  low  to  herself.)  Our  love's  first- 
fruits. 

Paulo 

(Rapt.)  When  you  and  I  float  over  the 
lagoons  as  dust  upon  the  wind — (turns  to 
her  from  picture  >  and  lowers  voice)  when 
you  and  I  are  gone — remembered,  perhaps, 
only  as  Paulo  the  painter,  and  Lucia  his 


130  KARMA 

inspiration — this  beauty — ah,  that  is  my 
dream — this  beauty  shall  still  shine  out  for 
the  world. 

[They  watch  the  picture  for  a  moment. 

Lucia 

I  fear  one  thing  only  for  you — poverty. 
You  should  have  everything. 

Paulo 

I  have.  Everything  that  matters  to  an 
artist,  and  its  name  is  inspiration. 

[Looks  with  passionate  admiration  at 
her. 

Lucia 

(With  growing  agitation.)  You  left 
Florence  for  my  sake.  But  for  me,  the 
great  Princes — (with  an  effort)  the  Medici 
— would  have  helped. 

Paulo 

(Brusquely.)  We  agreed — (pretended 
severity) — solemnly,  you  remember — never 


KARMA  131 

to  mention  your  princely  lover's  name. 
Nothing  stops  good  painting  like  jealousy, 
and  at  that  name  I  see  blood. 

Lucia 

(Smiling.)  Our  Palace  is  too  poor  to 
house  even  that  thin  ghost.  You  have  no 
need  to  think  of  jealousy. 

Paulo 

No  need  now,  Lucia.  In  Venice  we  are 
safe  from  Damiano  di  Medici.  Now,  will 
you  sit  for  me?  I  burn  to  work.  Come! 
You  must  have  roses  in  your  hands.  I  will 
go  to  the  flower-sellers  by  the  bridge. 

Lucia 

I  would  have  brought  them  with  me  from 
the  market-place — one  scudi  each!  I  hesi- 
tated  

Paulo 

And  bought  ten  sprats  instead !  My  won- 
derful, clever  house-wife.  Without  sprats 
to  eat  I  never  could  paint  roses !  But  I  must 


132  KARMA 

have  them.  I  shall  be  but  a  moment  away, 
my  love — a  single  moment  (throwing  kisses 
from  the  door)  that  will  seem  like  years! 
Farewell.  .Little  Child. 


Lucia 

Little  Child!  Ah,  how  I  love  that  name, 
given  to  me  with  our  first  kiss.  I  love  it 
better  than  my  own.  (Thinks  a  moment, 
puzzled.)  For  somehow  it  seems  my  very 
own 

Paulo 

It  is  your  own.    The  little  love-name  that 
seems  to  travel  like  memory  up  the  ages.    I 
shall  be  back  as  soon  as  you  are  ready.  [Exit 
\Knoc\dng  at  the  door  startles  Tier. 
(Enter  DAMIANO  DI  MEDICI.) 

Lucia 

You!  And  so  soon.  It  is  too  soon.  I've 
had  no  time  to  prepare  him  yet 


KARMA  133 

Medici 

A  painter  receives  his  patron  without 
preparation  surely 

Lucia 

Patron!  You  must  not  use  that  word  to 
him,  or  all  is  ruined  before  it  is  even  begun. 
You  must  remember 

Medici 

(Bows  ironically.)  "Must"  to  me!  And 
"must"  again!  My  gracious  Lady  Lucia 

forgets 

Lucia 

Nothing.  She  remembers  that  her  hus- 
band, first  of  all,  is  proud,  as  I  have  already 
warned  you.  He  does  not  yet  know  that  I 
have  been  to  see  you — you,  of  all  men  in  the 
world. 

Medici 

(Frowning.)  When  you  say  "proud" 
you  mean,  I  take  it,  jealous. 


134  KARMA 

Lucia 

I  mean  both.  (Manner  changing.)  Oh, 
Prince,  you  promised — I  have  your  word 
that  you  would  be  guided  in  this  by  me. 

Medici 
(Unbending.)     I  was  in  haste  to  see  the 

picture 

Lucia 

But  too  great  haste 

Medici 

(Ignoring  her  interruption.)  For  he  is, 
I  swear  truly,  the  man  I  need — his  work, 
that  is  to  say.  (Threateningly.)  As  once, 
my  Lady,  you  were  the  woman  that  I  need- 
ed. But  needs  do  not  last  for  ever,  nor  is 
any  indispensable — perhaps. 

Lucia 

(More  control.)  Oh,  give  me  time, 
Prince,  please.  You  do  not  want  to  lose 
him.  I  have  your  word  and  trust  it.  (Anx- 


KARMA  135 

iously.)  Will  you  not  take  your  gondola  to 
the  islands — the  sun  is  sweet  upon  the  water 
— and  return  in  half  an  hour?  I — by  that 
time  I 

Medici 

The  light  is  sweet  upon  your  face  as  well. 
What  do  you  offer  me  in  return  for  so  great 
a  favour? 

Lucia 
I  am  the  wife  of  Paulo  Salviati. 

Medici 

And  have,  as  I  see,  married  poverty  as 
well  as  genius!  I  was  too  slow  for  once,  as 
now,  it  seems,  I  am  too  hasty.  I  should 
have  asked — and  taken — all  before  this  fel- 
low  

Lucia 

(Scorn.)  Poverty  with  Salviati  is  beauty 
for  eternity.  The  wealth  of  a  Florentine 
princess  belongs  to  time. 


136  KARMA 

Medici 

And,  therefore,  you  come  humbly  to  ask 
me  a  favour. 

Lucia 

One  it  should  be  an  honour  for  you  to 
grant  (with  earnest  persuasion) — that  you 
may  share  in  giving  eternal  beauty  to  the 
world.  Had  I  asked  the  Collona  or  the 
Calviere  to  see  the  work  of  a  great  painter 
whom  poverty 

Medici 
You  came,  instead,  to  me. 

ILucia 

You  have  bought  the  palace  on  the  Grand 
Canal  and  need  a  great — the  greatest — 
painter  for  your  ceiling — 

Medici 

Enthusiasm  becomes  you.  You  look  di- 
vine with  that  passion  in  your  eyes. 


KARMA  137 

Lucia 

(Cunningly.}  I  am  his  model  too,  you 
see. 

Medici 

And  that  delicious  gesture.  (Steps  near- 
er.) A  little  more  fire,  a  touch  more  of 
abandon,  and  I  swear  that — on  certain  con- 
ditions— oh,  very  small  ones! — I  would 
grant  everything  you  ask. 

Lucia 

(Icily.)  An  hour  ago,  when  we  talked 
together,  you  passed  me  your  word.  I  ap- 
pealed to  you  as  lover  of  the  beautiful — the 
best,  the  noblest  in  you.  I  was,  it  seems, 
mistaken,  and  our  interview  now  had  bet- 
ter end.  (Moves  to  window.)  I  w^l  call 
my  husband. 

Medici 

This  change  from  fire  to  ice  is  exquisite! 
(Admiringly.)  But  why  so  proud,  fair 
Lady  Lucia?  (She  stands  listening .)  You 
hear  him  coming?  (She  hears  the  water  lap- 


138  KARMA 

ping.  Hides  her  face  a  moment.)  It  is 
only  the  waves.  The  tide  is  rising  still. 
That's  all. 

Lucia 

(Distraught.)  Yes,  rising,  rising.  Please 
leave  me,  Prince.  No,  no — please  stay — a 
moment  longer.  (Frightened.)  Forgive 
me.  Something — a  vision — flashed  upon  me 
out  of  darkness.  I  am  confused.  I  fear. 
(To  herself.)  Oh,  I  have  done  this  very 
thing  before 

Medici 
But  not  with  me,  alas! 

Lucia 

(Goes  to  his  side.)  Forgive  me.  I  thought 
only  of  myself.  For  a  moment  I  forgot  the 
work,  the  beauty  that  is  his  divine,  his  holy 
mission.  Now  I'm  myself  again.  The  water, 
the  rising  water  —  somehow  —  in  some 
strange  way — reminds  me.  Oh,  I  will  be 
wise  and  loving  in  the  noblest  way.  Looks 


KARMA  139 

into  his  eyes.  Imploringly.)  It  is  his  need, 
his. poverty,  that  drive  me  to  ask  a  favour 
of  you  who  once  aspired  to  be  my  lover. 
Have  you  no  pity?  We  fled  from  Florence 
to  escape  you — it  is  true.  I  would  rather 

ask  favours  of  any  in  the  world  but  you 

( Confused. ) 

Medici 

And  yet — (To  himself.)  And  you  are 
his  model.  You  could  live  for  ever  on  my 
ceiling!  (To  her.)  You  are,  indeed,  a  God- 
dess belonging  to  eternity!  (Admiringly.) 

Lucia 

And  yet — yes,  I  came  to  you  an  hour  ago 
— as  patron.  It  is  true.  It  was  for  his 
sake  and  for  his  great  art  I  came.  (Voice 
singing  outside.)  Oh,  I  ask  no  favour  now 
more  than  a  little  time  to  talk  with  him. 
That  is  his  voice.  I  will  persuade  him.  I 
will  gain  his  consent,  and  he  will  do  the  pic- 
ture for  you — for  your  palace.  Leave  me, 
I  beg,  a  few  moments  with  him  alone,  and 


140  KARMA 

then  return — to  find — I    promise    it — the 
greatest  painter  in  all  Italy 

Medici 
In  all  the  world. 

Lucia 
Prepared  to  give  you  of  his  best. 

[Clasps  her  hands  and  stares  into  his 
face. 

Medici 

To  have  you  in  my  palace  so  (admiring- 
ly] is,  perhaps,  the  next  best  thing  to — have 

you  in  my 

Lucia 

Oh,  I  implore  you.  Leave  me  with  him. 
(Singing  comes  very  close.)  I  promise. 

Medici 

(Shrugging.)  You  have  chosen  the  one 
spell  tliat  moves  me.  Even  more  strong 
than  the  love  of  a  fair  woman  is  my  love 
of  art — its  wonder,  its  beauty,  and  its  tri- 
umph. His  picture  will  outlive  even  your 


KARMA  141 

loveliness.  (Sighs.)  My  name  and  my 
great  palace  will  remind  a  later  world  of 
me,  and  of  what  I  did  for  beauty.  Well, 
well,  my  Lady  Lucia,  you  win  me  over — 
for  the  mement,  at  any  rate.  I  will  stand 
behind  this  screen  and  listen.  I  must  hear 
how  you  persuade  genius  to  abjure  its  prin- 
ciples ! 

Lucia 
(Firmly.)     Then  I  do  nothing.  You  must 

first  go. 

Medici 

Another  "must."    Your  self-will  is  ador- 
able. Upon  my  word!     But  I,  too,  have  a 
"must" — his  work,  with  yourself  as  model, 
on  my  palace  ceiling!     (Yields  with  a  sar- 
castic bow.)  [Earit. 
[LuciA  mounts  the  model's  throne  and 
stands,  arranging  her  drapery,  as 
PAULO  enters. 

Paulo 

(Breathless;  carries  roses.)      Only  two! 
They  were  so  dear.     I  have  not  your  skill 


142  KARMA 

in  bargains.  (Holds  out  roses.)  We  must 
make  them  do.  (Kisses  her.)  Have  I  been 
very  long?  I  had  to  go  nearly  to  the  Zucca. 

Lucia 

Two  roses  added  to  our  love  makes  a 
whole  garden.  And  one  day  soon  you  shall 
lack  nothing  the  work  needs.  (Tenderly.) 
Oh,  Paulo,  beloved,  by  rights  everything 
should  be  yours  now.  There  is  not  a  painter 
in  Italy  who  comes  near  you. 

Paulo 

(Quietly.)  I  shall  win  the  Competition. 
We  shall  have  plenty  then. 

Lucia 

(Lower.)  Your  art  needs  it  now.  (Sighs.) 
I  am  so  useless  to  you — and  yet 

Paulo 

(Looking.)  And  yet — ?  Lucia,  this 
anxiety,  this  nervousness  is  strange  to  you. 


KARMA  143 

You  use  unaccustomed  words.     "Useless"! 
What  can  you  mean? 

Lucia 

You  would  never  be  angry — you  would 
not  scold  me,  no  matter  what  I  might  do — 
for  your  work's  sake? 

Paulo 

(Passionately.)  You  have  such  darling 
moods.  I  love  you.  The  work  is  ours,  not 
mine.  (Caresses  her.)  I  understand  so 
well.  It  is  your  love  that  makes  you  trem- 
ble for  the  work's  sake:  the  picture  grows, 
the  Competition  Day  comes  nearer.  It's  like 
the  sea-tides  rising — it  affects  you — I  under- 
stand! 

Lucia 

Yes,  yes.  You  always  know.  You're  al- 
ways right.  An  inner  tide  seems  rising  in 
me  as  the  time  draws  near.  You  under- 
stand my  woman's  moods,  and  so  forgive 
them. 


144  KARMA 

Paulo 

(Painting.}  Picture  the  scene,  as  we  used 
to  do  when  scudi  were  very  scarce.  It  al- 
ways makes  us  happy — the  brilliant  fore- 
cast. 

Lucia 
Tell  me  again.    I  love  to  hear  it  all. 

Paulo 

The  judging  will  be  in  the  Council  Hall 
where  the  Doge  holds  high  state,  crowded 
with  the  noblest  and  loveliest  of  all  Venice. 
The  pictures  chosen  for  the  final  verdict — 
that's.  Vernio's  and  Marco  Gagliano's,  and 
mine — I  mean  ours — of  course — will  stand 
apart  on  easels.  And  on  a  pillar  in  front 
of  them  shines  the  jewelled  casket  with  the 
thousand  gold  pieces  that  Venice  bestows — 
a  mere  trifle — upon  him  she  decrees  the 
greatest  artist 


KARMA  145 

Lucia 

And  the  pillar  is  garlanded  with  roses — 
more  than  these  two,  but  not  more  lovely, 
Paulo. 

Paulo 

Of  course.  And  the  competitors  waiting 
in  a  liungry,  anxious  group 

Lucia 

You  won't  be  hungry.  I'll  have  so  many 
sprats  the  night  before 

Paulo 
I  shan't  be  anxious  either. 

Lucia 

(Happier.}  You  will  be  dressed  in  a 
new  doublet  of  purple  cloth.  If  we  can  buy 
no  golden  thread  for  the  embroidery  I  shall 
weave  this  across  it.  (Holds  out  her  hair.} 
You'll  look  magnificent 


146  KARMA 

Paulo 
The  picture 

Lucia 

Still  more  magnificent.  They  won't  know 
which  to  look  at 

Paulo 
(Merry.)     Then  they'll  squint. 

Lucia 

The  judge  will  call  aloud  your  name: 
Paulo  Salviati.  You  will  be  victor,  and  all 
the  Assembly  will  rise  to  honour  you 

Paulo 
(Correcting  her  again.)    The  work.    My 

art,  not  me.    My  art,  my  work 

[LuciA  stands  up  to  show  the  judge's 
gestures.    She  hears  the  water  lap- 
ping.   Her  face  changes. 
What  is  it,  Little  Child? 


KARMA  147 

Lucia 

N — nothing,  Paulo.  I — I  merely  thought 
a  moment  of  those  other  painters,  of  Vernio, 
of  Gagliano,  the  favoured  ones  who  have 
wealthy  patrons,  so  that  they  can  work  in 
ease  and  comfort,  lacking  nothing 

Paulo 

( Grandly. )  Except  my  inspiration — and 
my  liberty.  Think  what  that  means.  My 
work  is  done  in  freedom,  and  must  surpass 
their  best  since  it  is  bought  of  luxury. 
(Earnest  and  contemptuous.)  What  artist, 
no  matter  his  genius,  that  can  see  truth  while 
a  patron  jogs  his  brush,  bidding  him  do  this 
and  that,  set  here  a  touch  of  gold  and  there  of 
scarlet,  put  here  a  flower,  a  bird,  and  there  a 
— a  (explodes) — a  sprat — !  Why  not?  It 
is  the  soul  alone  that  sees  truth,  and  such 
men  have  sold  their  souls.  They  will  be  paid 
accordingly. 


KARMA 


Lucia 

(Agitated.)  There  are  some  patrons  who 
—  it  is  said  —  give  freedom,  liberty  too. 

Paulo 
I  never  heard  their  names. 

Lucia 

There  are  some  who  know,  who  under- 
stand better.  (Confused  and  rapidly.) 
They  say  the  Medicis  - 

Paulo 

(Stops  painting.)  Such  painters  and 
their  patrons  live  for  time,  not  for  eternity, 
my  Little  Child.  And  among  them  the 
worst  —  the  very  worst  —  is  that  Florentine 
whose  best  claim  to  merit  is  that  he  dared 
to  aspire  to  your  love. 

Lucia 

I  hate  and  despise  him.  Yet  I  dread  his 
help  —  for  others.  He  is  as  great  in  influence 
almost  as  his  elder  brother,  Cosimo. 


KARMA  149 

Paulo 


Bah! 


Lucia 

Forgive  me,  Paulo — I  reproach  myself 
often  that  we  fled  from  him — from  Florence 
— where  he  might — (lower)  oh,  he  could 
have  done  so  much  for  you — his  patronage. 

Paulo 

(Staring.)  The  mere  name,  as  you  see, 
stops  me  painting.  You  must  not  speak  of 
it,  here  least  of  all  in  our  place  of  work,  of 
worship.  Patronage — bah!  My  fire  would 
go  out,  my  inspiration  leave  me,  my  soul 
die  in  bondage.  I  must  have  (loudly)  lib- 
erty. 

Lucia 

(Frightened.)  The  Madonna  help  me! 
Paulo,  beloved,  see  what  I  have  brought  you 
— something  your  picture  needs.  My  pres- 
ent and  my  surprise.  No  questions,  now! 

[Holds  out  richly-coloured  silk. 


150  KARMA 

Paulo 

(Delighted,  amazed. )  That  very  broidery 
we  saw  together!  Lucia — Little  Child! 
How  did  you  pay  for  it,  or — or  did  you  steal 
it?  The  merchant  asked  ten  lira,  I  remem- 
ber— and  we  had  but  three.  (Examines  it.) 
The  colour  of  wine  and  pomegranate !  Gor- 
geous! How  did  you  pay  for  it?  Quick, 
tell  me.  (  LUCIA  turns  her  head  from  side  to 
side.}  The  long  gold  earrings!  Your  last 
jewel!  Lucia!  (Takes  her  in  his  arms.} 
I'll  kiss  your  ears  (softly}  till  they  leave 
blushes  you  cannot  sell,  fairer  than  any 
jewels,  for  they  are  the  kisses  of  my  soul 
which  sees  eternal  beauty. 

Lucia 

Would  that  I  had  a  whole  casket  of  both 
kinds,  my  Paulo!  Of  one  kind  I  would  sell 
all.  You  should  have  a  studio  with  north 
light,  the  best  paints  that  can  be  bought, 
the  choicest  hangings,  the  fairest  models, 
and — and,  oh,  everything  these  others  pos- 


KARMA  151 

sess  who  have  not  risked  all  for  Love  and 

brought  a  wife  from  Florence (Voice 

breaks  and  stops. ) 

Paulo 

Hush,  hush,  Little  Child!  You  have 
given  all  you  had — and  that  is  everything. 
My  art,  if  it  is  inspired  as  we  dream,  is 
stronger  than  circumstances,  and  will  con- 
quer. And  I  have  liberty — love,  beauty, 
liberty!  What  more  can  I  ask  of  Heaven? 
Come,  see  the  picture  with  me  a  moment. 
(Draws  her  to  it.)  Let  us  look  at  it  to- 
gether. ( They  stand  before  it. ) 

Lucia 
(Low.)   The  Gods  painted  it. 

Paulo 

(Moved.)  Your  soul  and  mine,  say 
rather.  The  hand  is  nothing.  It  is  the  in- 
spiration. (They  look  a  moment.)  It  was 
conceived,  at  least,  in  liberty — (Starts  and 
looks  at  her.)  You  whispered  something? 


152  KARMA 

I  did  not  catch  it.     Tell  me,  Little  Child. 
You  feel — ?    Why,  I  declare,  you  tremble. 

Lucia 

(Very  low.}  One  thing,  I  fear,  one  thing 
alone!  The  golden  bloom,  the  warmth,  the 
joyous  laughter  and  the  richness  all  Vene- 
tians love.  It  will  be  judged  with  the  work 
of — of  others  whom  plenty  and  comfort  and 
— and  all  that  help  which  money  can  pro- 
vide  

Paulo 

Men  who  feed  from  their  patron's  hands 
like  obedient  lap-dogs 

Lucia 

Madonna,  help  me!  They  have  never  to 
calculate  if  their  blue  paint  can  last  till  the 
sky  is  finished.  (Impetuously.)  Why,  in 
Florence,  the  Medici  gives  his  painters 

Paulo 
That  name  again! 


KARMA  153 

Lucia 

I  chose  it  at  random — by  mistake.  It 
slipped  out,  I  mean.  (Losing  control 
more. )  Oh,  my  too  proud  Paulo,  if  you  only 
knew  how  I  love  your  pride  and  wor- 
ship it.  I  only  thought — for  a  moment  only 
— the  merest  foolish  moment — that  this 
young  Medici — oh,  he  loves  beauty  too,  he 
worships  art  and  beauty — perhaps — I  won- 
dered— he  might  have  helped  in  a  way  that 
even  you  could  have  accepted  without  losing 
your  liberty.  I  reproach  myself  so 

Paulo 

(Sternly.)  Lucia,  I  need  no  man's  help. 
I  have  told  you.  You  doubt  my  art,  my 
power,  when  you  show  this  fear.  It  is  fear 
that  makes  you  reproach  yourself.  Our  love 
knows  no  fear.  (Soothes  her.) 

Lucia 

It  is,  perhaps,  myself  I  fear,  Paulo.  A 
strange  dread  haunts  me  like  a  dream.  I 


154  KARMA 

fear  lest  I  injure  your  great  work,  your  mis- 
sion  

Paulo 

You  tremble  still.  You  are  excited.  Tell 
me,  Little  Child — do  you  know  something 
that  you  hide  from  me — that  you  cannot 
tell  me? 

[Pause. 
Lucia 

Nothing,  nothing,  but  my  woman's  mood. 
My  passion  to  help  you  is  so  great  I  some- 
times fear  lest  I  guide  it  wrongly — (breaks 
off) .  See,  Paulo,  the  light  is  good,  and  we 
have  this  broidery  you  need  (replaces  old 
drapery  with  the  new  silk  piece) — the  very 
thing — exactly  the  tint  and  texture.  I'll  sit 
for  you.  (Shows  hurry.)  There  is  no  time 
to  lose.  Some  one  might  disturb  us. 

Paulo 

(A  look  of  suspicion  comes  and  goes.  He 
watches  her  puzzled,  while  mixing  his 
paints.)  Your  mood  is  new.  That  is  what 


KARMA  155 

disquiets  me.  You  seem  expectant  almost. 
And  this  strange  haste,  Lucia?  We  never 
hurry  I 

Lucia 

(Laughing  gaily.)  Only  that  I  long  to 
see  this  colour  (touches  silk)  in  your  picture 
— on  the  very  canvas,  alive  and  burning — 
before  it  is  seen  by — by  others. 

Paulo 

(Absorbed.)  Yet  who  should  see  it  be- 
fore the  Competition  Day? 

Lucia 

Of  course,  of  course.  Still  I  am  anxious. 
Time  is  precious.  (Poses.)  Oh,  how  lovely 
the  silk  lies  on  me !  Look !  And  am  7  right? 
( Whispers. )  Paulo,  I  feel  your  brushes  on 
my  heart.  Paint  swiftly,  belcved,  swiftly. 

Paulo 

Beautiful!  Perfect!  Divine!  There — 
just  as  you  are  now.  Don't  move!  Even 
your  heart  must  stop ! 


156  KARMA 

Lucia 
Madonna,  help  me! 

Paulo 

She  does.  Have  no  fear  for  the  result. 
(Paints  hard.)  Now,  talk  to  me  while  I 
work — no  movement,  mind !  Just  words.  I 
love  the  music  of  your  voice.  It  soothes  and 
blesses  me.  The  gossip  of  the  market-place, 
for  instance? 

Lucia 

(Quickly.)  Ah,  well,  then  the  Eros  will 
interest  you — the  one  we  coveted  so.  ... 
It's  gone  from  the  merchant's  booth  at  last. 

Paulo 

Our  Grecian  Eros!  Our  little  statue!  I 
shall  miss  it.  I  wonder  who  bought  it.  Or 
has  it  flown  back  to  Samos,  starved  with 
yearning,  on  our  summer  wind?  Some  day 
we'll  follow  it.  Greece!  Glorious  mother 
of  artists!  My  heart  lies  there — sometimes, 
I  almost  think,  my  memory  too.  (Pause.) 


KARMA  157 

Who  bought  our  Eros?    Did  you  hear  that 
as  well? 

Lucia 

The  critics  say  that  in  your  art  Greece 
has  come  back  to  life  again. 

Paulo 

Who  bought  it,  Lucia?  Your  head  to 
the  right  a  little — so. 

Lucia 

A  great  Prince,  a  stranger  to  Venice,  they 
said,  who  has  bought  the  Cavaliere  Palazzo 
on  the  Grand  Canal.  Gossip  is  full  of  it. 
He  has  sworn  to  make  it  more  beautiful 
than  Cosimo  Medici's  in  Florence 

Paulo 

That  odious  name  again!  (Smiling.)  It 
haunts  you,  Little  Child!  (She  starts.) 
Don't  move!  don't  move!  The  pose  is  per- 
fect. 


158  KARMA 

Lucia 

Haunts  the  gossip  of  the  town,  rather — 
for  which  you  asked  me,  Signor!  The  ceil- 
ings are  to  be  painted  with  classical  scenes 
alone — the  loves  of  Apollo,  and  Athena's 
triumph. 

Paulo 

What  subjects!  And  I  know  that 
Palazzo.  Its  ceilings  are  superb,  enormous ! 
Painting  the  very  sky!  (Steps  back  to  ex- 
amine his  work.)  It's  coming,  it's  coming, 
the  very  colour  I  wanted.  Yes,  yes,  they  are 
the  biggest  in  all  Venice,  so  I'm  told.  (Turns 
to  her.)  Now,  just  suppose,  Lucia — just 
suppose  that  one  day 

Lucia 

(Nervous.)  Paulo,  beloved,  do  not  stop. 
Paint  on  quickly.  You  are  in  your  best 
vein.  Paint  on  before — before  the  light 
changes.  Yes,  and  I  heard  one  other  thing. 

Paulo 
(Painting.)    All! 


KARMA  159 

Lucia 

That  this  Prince  will  commission  the  win- 
ner of  the  Competition 

Paulo 

(Looking  up.)  To  paint  those  ceilings! 
Not  unlikely,  Lucia!  There  are  menial 
fellows  enough  with  talent  who  would  do  it. 
I — win  or  lose — /  accept  no  commission 
tainted  by  patronage.  And  I  shall  win. 
What  was  this  Prince's  name? 

Lucia 

(Excited.)  And  those  ceilings  might  be 
yours! 

Paulo 
Who  is  he? 

Lucia 

S — some  said  one  thing,  some  another. 
j 

Paulo 

The  merchant  must  have  delivered  his 
Eros — to  somebody — somewhere. 

[Watches  her. 


160  KARMA 

Lucia 

He  didn't  say.  I  didn't  ask  him.  It  was 
the  gondolier  as  I  came  home.  Oh,  Paulo,  I 
cannot  sit  well  for  you  if  you  cross-question 
me  like  this!  You're  like  a  judge.  I  love 

you  so.    Why  should  you  suspect ? 

[Rises  agitated. 

Paulo 

Suspect!  You!  Clear  water  cannot  hide 
the  reflections  in  it.  (Expression  of  com- 
prehension dawns  on  his  face. )  Even  if  your 
love  guided  you  amiss,  I — I  could  never 
think,  and  far  less  use — that  ugly  word! 

Lucia!     Little    Child!     You   tremble 

(Starts  forward.) 

[Enter   OLD   WOMAN,   flustered. 
LUCIA'S  hand  flies  to  her  heart. 

Woman 

Signor!  Signora!  A  great  gentleman 
comes  for  you.  His  gondola  is  already  at 


KARMA  161 

the  steps.    I  heard  him  give  orders  to  wait. 
I  ran  on  to  warn  you. 

Lucia 
(Cry.)    Already! 

Paulo 

(Half  incredulous  still.)  Great  gentle- 
man! (Looking  at  LUCIA.)  Asking  for — 
us!  [LuciA  silent,  face  in  hands. 

Woman 

He  is  no  Venetian.  By  his  liveries  he 
must  be  a  Prince  at  least,  and  a  great  one. 
Your  dress,  Signora!  (Arranges  it.)  He's 
come  to  buy  the  Signer's  pictures!  Your 
fortune's  made.  Oh,  happy  day!  /  will 
open  the  gate  for  him,  so  he  will  not  know 
you  have  no  servant.  [Exit. 

Paulo 

(Grim.)  I  do  not  understand.  (Makes 
to  fasten  door,  hesitates,  then  turns  to 


162  KARMA 

LUCIA.)      You  can  explain  this  to  me — 
Little  Child — perhaps  ? 

Lucia 

Paulo,  Paulo,  do  not  be  angry.  Oh,  for- 
give me,  I  implore.  For  your  dear  sake — 
for  your  work,  your  art — for  you,  I  did  it. 
It  is  not  me  he  comes  to  see.  It  is  your  work, 
your  picture.  I  went  this  very  day — but  an 
hour  ago — to  make  him  come.  Oh,  tell  me, 
tell  me  I  have  not  done  wrong! 

(OiJ)    WOMAN    opens   door.      Enter 
MEDICI.) 

Paulo 
(Aghast.)    Damiano  di  Medici!  Here! 

Lucia 
(Hand  on  Jus  arm.)    Paulo!    Paulo! 

Medici 

At  your  service,  Signer  Salviati.  (To 
LUCIA.)  Signora  bellissima!  Am  I  too 


KARMA  163 

early  still?    My  promise — you  remember — 
I  was  impatient  to  fulfil  it. 

Paulo 

Promise!  What  can  a  Prince  of  the 
Medici  promise  to  my  wife? 

Medici 

( Gravely. )  That  which  only  the  proudest 
painter  may  receive  gladly  from  a  humble 
prince:  appreciation  of  his  work. 

Paulo 

(Coldly.)  My  work  is  not  done  for  the 
appreciation  of  princes.  I  have  no  work  to 
show. 

Medici 

Your  wife,  Signer,  said  otherwise.  And 
she  is  a  rare  judge  of  values.  (Bows.)  A 
faultless  critic!  (Bows  to  her.) 

Paulo 
The  Prince  di  Medici  knows. 


164  KARMA 

Lucia 

(To  Paulo.)  Oh,  do  not  anger  him.  And 
think  a  little  of  me.  You  forget  the  risk — 
for  your  sake — that  I  ran — (imploring) 

your  career 

Paulo 

(Watches  her  thoughtfully,  weighing 
things  that  perplex  him.)  Love  led  you  a 
strange  errand. 

Lucia 
For  the  work's  sake,  my  Paulo. 

Medici 

The  Medici  have  short  memories  for  their 
failures.  (Laughs.)  Her  courage — in 
coming  to  visit  me — was  even  more  rare  than 
her  (glances  at  the  picture) — her  judgment. 

Paulo 

(With  effort.)  She  went  to  see  you — 
yes.  It  was  a  mistaken  courage  that  earned 
you  a  favour  of  that  kind. 


KARMA  165 

Medici 

(Suave.)  Even  in  Venice  n.  Medici  does 
not  receive  strangers — without  a  name — or, 
shall  I  say,  whose  name  is  yet  to  win.  Your 
wife,  Signor,  had  the  courage  to  get  her 
way  to  me  past  half  a  hundred  lacqueys. 
But  more!  She  had  the  eloquence  and  wit 
to  persuade  my  return  visit — here.  She 
assured  me  your  picture  was  worthy  of  my 
personal,  my  immediate  inspection. 

{Goes  to  it.    PAULO  starts  forward  to 
prevent  him. 

Lucia 

(Catches  his  arm.)  Paulo,  beloved — by 
our  love,  by  little  Eros  (frantic),  by  every- 
thing! 

[MEDICI  moves  the  picture  into  better 
light. 

Medici 

( Watching  them  out  of  corner  of  his  eye. ) 
With  your  permission.  (Bows.)  You  will, 


166  KARMA 

perhaps,  forgive  the  liberty.  The  light  fails 
suddenly  a  little.  So — (examines  critically, 
with  signs  of  pleasure). 

Paulo 

(Back  turned.)  For  your  sake,  Little 
Child,  I  endure  this  cruelty. 

Lucia 
I  yearned  to  help 

Paulo 

So  it  was  he  who  bought  the  Eros  too? 
(To  himself.)  This  is  an  evil  omen.  (To 
her.)  I  thought  us  safe  in  Venice. 

Lucia 

You  are  so  calm,  so  quiet.  You  terrify. 
I  would  fear  your  anger  less.  Oh,  my  great 
Paulo,  my  dear,  listen  to  me  one  moment. 
This  family — this  man — vile  though  he  be — 
loves  art  and  beauty,  and  in  so  far  is  not — 
Oh,  I  mean — oh,  Paulo,  it  is  his  ceilings, 
his  palace,  his  help  to  your  career  that  have 


KARMA  167 

betrayed  me!  You  could  bring  Greece  to 
life  in  Venice — and  for  ever.  Think  not  of 
him.  Think  only  of  your  beauty — lighting 
the  world  when  he  is  dust 

Paulo 

(Quietly.)  Is  my  art  so  poor  a  thing — 
have  you  so  misunderstood  it — that  you 
think  it  is  for  sale? 

Lucia 

(Distraught.)     Have  I  done  that! 
[MEDICI    turns   from   the   picture   to 
PAULO. 

Medici 

(With  reverence.)  You  have  been 
taught  of  the  Gods — the  Gods  of  Greece. 

Paulo 
(Frigidly.)     Your  praise 

Lucia 
Hush,  oh,  I  beg  you — for  my  sake. 


168  KARMA 

Medici 

The  drawing  is  the  equal  of  del  Sarto's 
and  the  composition  no  poorer  than  da 
Vinci's.  I  swear  it.  Yet — the  colour — 
hmm — I  miss  Titian's  glory.  Those  shad- 
ows (pointing)  are  out  of  tone  a  little 

Lucia 
(Quickly.)    We  ran  out  of  blue  that  day, 

alas 

Medici 

Your  model  was,  certainly,  perfect.  But 
why  have  you  painted  the  nymphs  from  her 
as  well  as  their  divine  mistress? 

Lucia 

Models  demand  impossible  prices 

[PAULO  puts  his  hand  on  her  mouth 
angrily. 

Medici 

(Reflecting.)  So  little  more,  and  it  were 
a  masterpiece.  Even  now  it  should  win  the 


KARMA  169 

Competition,  by  rights.  Yet  Vernio's  is  just 
a  shade  more  rich,  more  splendid.  I  have 
seen  it.  And  Gagliano  has  a  purer  colour. 
But  then,  of  course,  Gagliano  buys  his  paint 
from  that  fellow  by  the  Zucca  who  has  a 
secret  method — and  charges  accordingly, 
the  scoundrel! 

Paulo 

(Unable  to  contain  himself  longer.)  I 
paint  sts  I  desire,  and  as  I  can.  The  picture 
is  mine.  And  not  for  sale! 

Medici 

(Kindly.)  I  admire  your  spirit,  Signer. 
It  has  the  independence  of  ancient  Greece 
herself.  Yet  at  what  price?  You  may  be 
satisfied  with  yourself,  but  your  art  thereby 
suffers.  It  becomes  a  slave  of  your  condi- 
tions— if  you  will  allow  the  language* 

Lucia 

Oh,  it  must  be  so!  Paulo,  it  must  be  so! 
You  see? 


170  KARMA 

Paulo 

'(Proudly.)  Conditions  that  leave  the 
spirit  free,  at  least.  The  spirit  of  beauty 
owns  no  master ? 

Medici 

The  husband  of  such  beauty  should  be 
more  gracious.  (Frankly.)  Ah,  Salviati, 
you  speak  to  a  Medici,  indeed,  but  also  to 
one  who  loves  beauty  as  you  yourself  do. 
I  might — had  I  persisted — have  taken  your 
golden  bird  in  my  own  net.  (Pauses.)  It 
is  my  pleasure  now  to  set  you  free  from  the 
hard  conditions  that  enslave  you.  In  this 
way  can  a  Medici  reward  good  for  evil.  Sig- 
nor,  I  forgive  all  for  the  sake  of  your  genius. 
I  admire  your  picture — its  true  classic  spirit. 
Yet  it  has  not  quite  the  warmth,  the  fire,  the 
bounteous  splendour  we  Italians  ask.  Give 
but  your  sky  a  deeper  hue,  add  to  that  robe 
the  undertone  of  scarlet  it  needs  to  make  it 
felt,  flood  our  prodigal  Italian  sunshine  over 


KARMA  171 

it  all — and  I  will  buy  your  picture  at  your 
price. 

Lucia 

Yes,  yes.  Oh,  Paulo,  what  an  offer! 
Think! 

Paulo 

It  is  not  for  sale. 

Medici 

While  you  may  still  enter  it  for  the  Com- 
petition. The  judges — er — may  hear  that 
Damiano  di  Medici  has  bought  it  for  his 
new  Palazzo — and — judge — accordingly. 

Paulo 

(Low.)  The  gold,  the  blue,  the  scarlet 
you  desire — I  mean,  suggest — are  not  in  my 
scheme. 

Medici 

Yet  they  would  add  the  perfect  touch 
now  lacking — in  my  judgment,  Signer. 
Come,  now,  I  will  go  further.  I  have  sworn 
that  my  Palazzo  shall  surpass  even  that  of 
Cosimo,  my  ambitious  brother,  in  Florence. 


172  KARMA 

I  will  have  a  Gorgione  for  his  Lippo  Lippi, 
and — if  you  will — a  Salviati  for  his  da 
Vinci.  I  offer  you,  further,  the  painting  of 
my  ceilings,  Signer — seven  years'  inspired 
and  happy  labour. 

Paulo 

Seven  years  of  bondage  to  another's  taste 
and  purse. 

Lucia 

(To  PAULO.)     You  could  do  your  own 
work  too.  [Looking  at  MEDICI. 

Medici 
Why  not? 

Paulo 

To  add  this  gold  and  blue  and  scarlet  is 
— for  me — a  lie. 

Lucia 

Oh,  my  beloved,  think,  think  a  little,  and 
weigh  your  words! 


KARMA  173 

Medici 

My  offer  stands — but  not  against  unrea- 
sonable resistance.  I  repeat  it:  this  picture 
at  your  figure,  and  seven  years  to  paint  the 
ceilings,  with  a  certain  freedom  in  design 
and  subject,  and  permission  to  do  your  own 
work  in  your  leisure.  It  is  a  matter  to  con- 
clude now  quickly.  (Ominously.)  It  is  not 
amusing,  though  it  may  be  novel,  for  a 
Medici  to  be  thwarted  of  his  will — his  deep 
design.  (Bows.) 

Paulo 
A  poor  painter  dares  the  novelty. 

Lucia 

(Cries.)  You  forget  everything,  Paulo 
— me  you  forget  even — when  you  say  such 
words! 

Medici 

(Impatient,  half -threatening.)  Beauty 
has  turned  yo^r  head,  maybe.  Excess,  I 
have  heard  it  said,  (significantly)  can  affect 


174  KARMA 

the  reason.     You  have   (glancing  towards 
LUCIA)   too  much  beauty.     But  there  are 

remedies 

Paulo 
(Startled.)     I  do  not  understand  you. 

Medici 

As  a  great  patron,  I  have  my  duties  too. 
(Slowly.)  If  the  possession  of  too  much 
beauty  threaten  your  great  gift,  I  owe  it  to 
the  world  to  (sinister  tone  and  look)  help — 
to  save  you. 

Paulo 

(Facing  him.)  I  prefer  plain  spoken  lan- 
guage from  a  man — even  though  he  be 
patron. 

Lucia 

Oh,  guard  your  tongue  at  least!  The 
Prince  is  patient  with  us. 

Medici 

(Softly.)  You  robbed  me  once  of  beauty 
I  desired.  You  fled  from  Florence.  I  ac- 


KARMA  175 

cepted  with  a  smile,  and  did  not  bestir  my- 
self to  follow  and  prevent — as  I  could  well 
have  done.  I  was  too  kind,  perhaps 

Lucia 

(Breaks  in.)  But,  great  Prince,  you — 
you  have  forgotten  all  that.  You  swore 

Medici 

(To  her.)     The  sight  of  beauty  stirs  my 
memory  again.    (Suggestively.)    For  beau- 
ty grows,  it  seems.     (Smiles  admiringly.) 
[He  moves  a  little  towards  her.  PAULO, 
with  clenched  hands,,  is  held  back 
by  LUCIA. 

Lucia 

( To  MEDICI.  )  My  Lord !  ( To  PAULO.  ) 
Oh,  Paulo,  hold  yourself  1  Am  I  so  little 

to  you? 

Medici 

And  this  increase  of  beauty  makes  me 
remember  something  I  had — (to  LUCIA)  as 
you  say — forgotten.  To  see  him  who  robbed 


176  KARMA 

me  become  my  dependant — would  have  the 
true  Grecian  touch  of  comedy.  (Turns  ab- 
ruptly to  PAULO  with  changed  tone.)  Sal- 
viati — before  the  light  fails,  will  you  now 
dip  your  brush  in  the  gold  and  scarlet  we 
suggested  ? 

Paulo 

Never!  Even  in  fading  light  I  see  only 
truth. 

Lucia 
Ah!     Oh! 

Medici 

(Looking  from  one  to  the  other,  then  to 
the  picture.)  There  are  many  flowers  in 
my  gardens,  but  Italy  holds  one  Salviati 
only.  (Reflects.)  My  ceilings  need  him.  I 
swore,  besides,  to  Cosimo 

Lucia 
(Distraught.)     My  Lord,  my  Lord,  you 

promised ! 

Medici 

(Brusquely.)  That  I  would  see  the  work 
and  offer  my  patronage — if  it  pleased  me. 


KARMA  177 

That  offer  still  holds  good.    But  your  hus- 
band is  obstinate 

Paulo 
I  am  true.     I  claim  only  liberty. 

Medici 

(Darkly.)  So  I  must  remember  my  du- 
ties as  a  patron — and  apply  remedies  that 
may  save  his  unreason — and  his — art. 

Lucia 

(Alarmed.)     What  can  you  mean ? 

[MEDICI  claps  Ms  hands. 

Medici 

Ho!  Ho!  Without  there!  (Four  MEN 
in  Uvery  rush  in.)  Take  the  woman,  but 
do  not  hurt  her.  [MEN  seize  her. 

Lucia 

(Struggling.)  Ah,  Dios!  Madonna, 
help  me!  Alive — never!  Paulo!  Paulo! 


178  KARMA 

Paulo 

(Tries  to  fight  his  way  to  for.)  Never 
while  I  live  either.  [Draws  a  dagger. 

Medici 

(To  MEN.)  Disarm  him — gently,  gently. 
No  injury.  Who  bruises  that  right  hand  of 
his  answers  with  his  life,  remember!  Strike 
up  the  dagger  instantly. 

Men 

(Struggling.}  For  a  painter  he  fights 
well. 

Careful  there!  His  hand — your  sword's 
point! 

His  right  hand,  yes.     Be  wary. 

This  is  rare  sport. 

Have  you  got  the  arm?    Hold  fast. 

I've  got  the  dagger. 

He's  safe,  my  Lord. 

[They  hold  him,  disarmed 


KARMA  179 

Lucia 

(Held.)  Paulo,  my  Paulo!  (Moans.) 
Oh,  that  I  were  dead,  to  have  done  this 
thing! 

Paulo 

(Firmly.)  My  soul  stands  by  yours.  I 
know  you  true.  Fear  nothing! 

Medici 

(Quietly.)  Signor  Salviati,  I  regret  that 
my  sense  of  duty — my  deep  desire  that  you 
shall  achieve  your  greatest — force  me  to  this 
unpleasant  remedy.  But  poverty  is  not 
helpful  to  your  work,  and  I  must — as  patron 
of  unreasonable  genius — protect  your  art 
and  yourself.  I  offer,  therefore,  the  best 
help  in  my  power.  If  you  accept — then  I 
need  take  nothing  (glancing  at  LUCIA) 
from  your  store  of  beauty. 

Paulo 
Dios!    This  cruelty — this  treachery! 


180  KARMA 

Lucia 

No,  no,  no.  Paulo,  do  not  think  of 
me 

Paulo 

It  is  too  late.  (To  MEDICI,  with  effort.) 
Your  vile  scheme  means  this,  then:  that  I 
submit  my  art  to  your  paid  dictation,  become 
your  creature,  or  you  will — (struggles  vio- 
lently). Let  me  free!  (to  MEN).  This 
bastard  is  not  fit  to  live. 

A  Man 

Hush!  He  is  a  Medici — Cosimo's  own 
brother. 

Medici 

My  gondola  waits.  My  new  Palazzo  lies 
but  half  an  hour  distant — ready  to  welcome 
its  first  fair  ornament. 

Paulo 

( Wild. )  To  be  broken  and  thrown  away 
when  done  with!  Death  is  better  now. 


KARMA  181 

[Tries  to  injure  his  right  hand  against 
a  sword. 

Medici 
(To  MEN.)     Careful.     Hold  him.     Or 

your  lives 

Lucia 

(Frantic.)  Beloved,  it  is  not  too  late. 
Forget  that  I  live — oh,  forget  me — for  your 
work's  sake!  Remember  beauty  only 

Paulo 

(Tender  patience.)  Little  Child!  My 
work  and  beauty  live  with  liberty.  (Very 
softly.)  Had  you  forgotten?  Did  belief 
in  me  waver,  or  did  love  guide  you  strangely 
— misconceiving ? 

Medici 

(Impatient.)  The  light  fails  rapidly. 
The  gold  and  scarlet  should  be  laid  on  now, 
before  dusk  falls.  (To  MEN.)  One  of  you 
go  and  prepare  my  gondola — for  a  lady. 
(MAN  goes  to  door.)  Lay  a  soft  silken 


182  KARMA 

scarf  upon  the  cushion — there  must  be  no 
screams  in  Venice.  (To  PAULO.)  Oh,  1 
will  do  it  gently,  Signer,  with  my  own  two 
hands.  There  shall  be  no  roughness,  no 
unkindness.  (MAN  gives  scarf.)  Oh,  here 
is  the  very  thing.  (Goes  towards  LUCIA.) 
You  will  take  this  small  attention  from  me, 
I  beg,  if  nothing  else. 

Lucia 
I  hate  you!    Your  touch  is  poison. 

[Struggles. 
Medici 

You  should  not  ask  favours,  then,  of  those 
who  poison  you.  (Puts  scarf  round  her 
arms.)  For  the  mouth  I  have  a  yet  softer 
silk,  as  you  shall  see.  Ah,  the  Medici,  they 
say,  are  fortunate  in  love,  and  I  shall  find 
a  way  to  win  you.  These  arms  I  am  forced 
to  bind  shall  yet  twine  willingly  about  my 

neck 

Paulo 

(Shouts.)  All  I  possess  to  him  who  kills 
him ! 


KARMA  183 

Medici 
All  you  possess ! 

Paulo 

(Yields.)  And  more — my  liberty.  Let 
her  go! 

Medici 

So  reason  returns,  at  last.  The  remedy 
works  already  towards  a  cure. 

Paulo 
Set  her  free.    I  give  my  word. 

Medici 

Though  I  trust  no  man,  I  trust  your 
word,  Salviati. 

Paulo 

(Stammering.)  Unfasten  me.  Give  me 
my  palette. 

Medici 

(To  MEN.)  Release  him.  Release  the 
lady  too.  But  watch  him  closely,  lest  he 
hide  a  weapon. 


184  KARMA 

Paulo 

(Free.)  This  is  my  only  weapon  (takes 
brushes j  etc.).  With  it  I  put  chains  upon 
my  soul.  So — and  so. 

[Dabs  on  paint.  LUCIA  silent.  Col- 
lapses to  her  knees  and  hides  her 
face. 

Medici 

Improved  already !  So  swiftly!  You  are, 
indeed,  the  greatest  of  them  all.  We  shall 
beat  Verio  out  of  court,  and  Gagliano  will 
die  of  envy  on  the  spot.  (To  MEN.)  Be- 
gone with  you!  No,  stay  a  moment — take 
the  picture  with  you  and  lay  it  carefully 
in  the  gondola.  It  shall  be  finished  under 
my  own  eye — before  the  ceilings  are  begun. 
(MEN  obey.)  Carefully!  One  smear  and 
your  lives  are  forfeit.  ( Turns  to  LUCIA  and 
raises  her. )  You  are  not  quick  to  thank  me, 
Signora,  yet  I  have  fulfilled  my  promise  to 
you.  All  that  you  begged  of  me  is  accom- 
plished. Henceforth  Salviati,  your  husband, 
shall  work  in  comfort  and  lack  nothing. 


KARMA  185 

Lucia 

(Faint.)  How — how  could  I  have  done 
this  thing?  What  ancient  deep  perversity 
— what  lack  of  faith — what  hidden  destiny 
in  me?  (To  PAULO.)  Paulo,  look,  look  at 
me!  (He  keeps  Ms  back  to  her.  MEDICI 
watches  them  quietly.)  Hark! 

[Sound  of  water  lapping  heard  outside. 

Medici 

So  you  will  not  thank  me — either  one  of 
you?  No  matter.  I  like  a  little  spirit. 
(Goes  to  door.)  Carefully,  now!  The 
edges  safe.  No  flick  of  dust,  mind. 

[Stands  looking  down  steps. 

Lucia 

(Low.)  Hark!  (To  PATJLO.)  It  is  an- 
other sound  I  hear.  (Whispers.)  Paulo! 
It  is  water.  (Stands  listening  intently  to 
the  lap  of  the  sea.  Distress  increases.  Passes 
hand  over  forehead,  as  if  trying  to  remem- 
ber something.)  The  rising  water!  (She 


186  KARMA 

turns  her  head  slowly  to  look  at  PAULO.  He 
turns  slowly  too.  Their  eyes  meet.  Very 
low.)  You  hear?  (Whispers.)  That 
sound  is  in  my  soul.  Paulo — 1  half  remem- 
ber— something — that  hides  behind  it,  yet 
comes  with  it.  ( Goes  up  and  clings  to  him. ) 
I  have  done  this  thing  before — destroyed 
you — with  my  selfish  love. 

Paulo 
Hush,  hush! 

Lucia 

You  look  so  strangely  at  me.  Your  face 
changes.  Dios!  (Frantic.)  Speak  to  me, 
beloved!  If  you  cannot  forgive — say  that 
you  understand.  Oh,  what  is  it  in  your 
eyes?  (Fear.)  [Dusk  increases. 

Paulo 

(Tender  whisper.)  The  night  is  coming 
— with  her  stars.  In  my  eyes  is  only  love. 
(Patiently.)  There  is  nothing  to  forgive. 
(Embraces  her  for  several  moments.  Then 
breaks  suddenly  away.)  Where  is  the  gold 


KARMA  187 

— the  scarlet?     (Bewildered.    To  MEDICI.) 
What  is  my  Lord's  desire? 

Lucia 

(Screams.)  Oh,  I  have  killed — I  have 
killed  again.  [Falls. 

Paulo 

(Catching  her.)     Little  Child! 

Medici 

(Turning  at  the  scream.)  She  is  even 
more  beautiful  than  I  first  thought.  Well, 
well,  the  picture  is  mine  at  any  rate,  and 
she — (smiles) .  A  good  evening's  work.  How 
dark  it  grows.  And  the  rising  tide  is  at  the 
full.  Ho!  Without  there!  My  gondola! 

[Exit. 

[PAULO  and  LUCIA   in    each    other's 
arms.) 

CURTAIN 


EPILOGUE 
PRESENT  DAY 


CHARACTERS 

PHILLIP  LATTIN. 
MRS.  LATTIN. 
THE  DOCTOR. 


EPILOGUE 

SCENE — SAME  AS  PROLOGUE. 
TIME — PKESENT. 

(MRS.  LATTIN  opens  her  eyes  slowly.  The 
DOCTOR,  near  the  bed,  is  seen  making  a  ges- 
ture with  his  arms  as  if  lowering  a  curtain. 
MRS.  LATTIN  shows  bewilderment.) 

Mrs.  Lattin 

(Dreamily.)  Where  am  I?  Florence.  .  . 
Greece. .  .Egypt. .  .where  are  they?  I  am 
back  again.  But  who  am  I? 

Doctor 
You  are  your  Past. 

Mrs.  Lattin 

I  slept?  But  yet  I  lived  it.  I  understand 
at  last.  I  have  found  life. 

191 


192  KARMA 

Doctor 
You  cannot  die,  nor  can  you  sleep. 

Mrs.  Lattin 
But  time . . . 

Doctor 

Is  the  body's  measuring. 

[She  looks  round  the  room,  and  finally 
into  Ms  face.  He  moves  slowly 
backwards  towards  the  door. 

Mrs.  Lattin 

( Thinking. )  It  was  not  a  dream.  I  was 
in  Greece  with  Phocion. .  .with  Paulo  in 
Italy . . .  with . . .  Oh,  it  is  too  long  ago,  too 
far  away.  It's  fading.  (Eagerly.)  Oh,  I 
would  not  forget! 

Doctor 
The  results  lie  in  you.    That  is  memory. 

Mrs.  Lattin 

Each  time  I  injured. .  .thwarted  the  high- 
est in  him  by  my  selfish  love.  How  small 


KARMA  193 

my  love!     Oh,  tell  me  it  is   not    now   too 

late 

Doctor 

(By  door. )  There  is  no  "too  late."  What 
he  could  do  without  was  added  to  him.  You 
have  taught  Menophis,  Phocion  and  Paulo 
to  become . . .  Phillip.  [He  begins  to  fade. 

Mrs.  Lattin 

(Joyfully.)  I  understand  at  last,  and  I 
am  healed.  I  delayed  Menophis.  I  shall 
inspire  Phillip.  I  shall  go  with  him . . .  back 
to... Egypt.  Phocion,  Paulo,  how  happy 
they  will  be! 

Doctor 

(Almost  invisible.)  He  is  coming  now. 
I  leave  you. 

Mrs.  Lattin 
But  he  must  see  you  too. .3. 

Doctor 

(Invisible,  only  a  voice  heard.)  He  can- 
not. 


194  KARMA 

[Door  opens.  PHILLIP  enters  quietly. 
He  shows  surprise  at  finding  her 
sitting  up.  Her  hands  are  stretched 
out  towards  the  door  where  the 
DOCTOR  has  vanished.  As  he  en- 
ters, the  clock  strikes  the  last  three 
strokes  of  six  o'clock. 

Phillip 
You  rang.    I  just  slipped  back  to  see 

Mrs.  Lattin 
( Low. )      Phocion . . .  my  faithful . . . 

PhilUp 

Eh?  Are  you  all  right?  I  mustn't  stay. 
Doctor  Ogilvie  will  be  here  any  minute. 

Mrs.  Lattin 
(Low.)     Paulo. .  .my  dear  one. .  .1 

Phillip 

(Puzzled.)  You  slept  a  moment  prob- 
ably. Good!  (Startled  by  her  happy  ex- 
pression. )  You  look ...  so  much  better ! 


KARMA  195 

Mrs.  Lattin 
He  came.    And  I  ain  healed. 

[  NURSE  enters  hurriedly. 

Nurse 

(Whispering  to  PHILLIP  so  that  MRS. 
LATTIN  does  not  hear.)  Dr.  Ogilvie  has 
just  telephoned.  He  is  detained.  He  can- 
not get  here  till  seven  o'clock. 

Phillip 
All  right.    Hush!  [Exit  NURSE. 

Mrs.  Lattin 
He  told  me... showed  me  .v .  everything. 

PUIMp 

(Humouring  her.)  He  gave  you  hope — 
the  best?  I  see  it  in  your  eyes. 

Mrs.  Lattin 
It's  not — I  am  not — too  late.    That's  all. 


196  KARMA 

Phillip 

Hush!  Hush!  Lie  quiet  a  little  longer. 
( Goes  on  to  ask,  still  humouring  her. )  You 
mean  the  doctor  says ? 

Mrs.  Lattin 

I  am  so  happy.  I  know  and  understand 
now.  It's  glorious. 

Phillip 

My  darling!  Gently,  gently!  Do  not 
excite  yourself.  Lie  still  and  sleep,  if  you 
can,  again.  He  has  given  you  something? 
Later,  you  shall  tell  me 

Mrs.  Lattin 

Ah,  your  great  patient  strength!  It  is 
too  wonderful.  And  to  think  that  my  weak- 
ness helped,  my  selfish ! 

[Sits  up  and  peers  closely  at  him,  shad- 
ing her  eyes  with  one  hand. 


KARMA  1ST 


PkOKp 

(Anxious,  puzzled.)  The  lamp  is  in  your 
eyes.  I'll  move  it.  Do  not  stir.  There,  is 
that  better? 

Mrs.  Lattin 

Thank  you,  but  I  do  not  mind  the  light. 
I  mind  nothing.  Thank  you  (the  name 
comes  back  suddenly),  Phillip.  Ah,  it  is 
Phillip!  I  know  you  again — as  you  are — 
to-day ! 

[Passes  hand  over  forehead.  Sighs  and 
leans  back.  But  face  happy  and 
at  peace. 

PhilUp 
Maryl 

Mrs.  Lattin 

Not  Mary:  Little  Child. 

Phillip 

My — Little  Child.  (Doubting  and  per- 
plexed. ) 


198  KARMA 


Mrs.  Lattin 

Phillip,  dear  heart,  I've  seen — I've  seen 
my  past — with  you. 

Phillip 

(Soothingly.)  Yes,  yes.  When  you're 
more  rested  you  shall  tell  me  everything. 
Your  dreams 

Mrs.  Lattin 
I  must  speak  now.    I've  seen  our  past. 

Phillip 

(Bewildered.)  Tell  me,  then,  dearest, 
tell  me.  Then  you  must  lie  still 

Mrs.  Lattin 
(Firmly.)     Life! 

Phillip 
( Impressed. )     Life ! 


KARMA  199 

Mrs.  Lattin 

I  have  recovered.    I  love  you  more — but 
differently.    I  can  forgive  myself  at  last. 

Phillip 

Recovery !    Forgiveness !    I  do  not  under- 
stand. 

Mrs.  Lattin 

You  have  not  seen.    I  understand  for  both 
of  us. 

PUIMp 

You  have  had  dreams  that  troubled  you. 
I  implore  you,  dearest 

Mrs.  Lattin 

Look  in  my  face.     There  is  no  trouble 
there — but  only  joy  and  life. 

PMUip 

Yes,  yes,  but — my  darling,  what  can  you 
mean? 

Mrs.  Lattin 

He  came — and  went. 


200  KARMA 

Phillip 
And  left  one  word  behind  him  only ? 

Mrs.  Lattin 
One  word — Life. 


Phillip 
(Almost  convinced.)     Then- 


Mrs.  Lattin 

(Radiant,  rising  from  couch.)     I  shall 
go  back  with  you. 

Phillip 
To  Egypt! 

Mrs.  Lattin 

I  shall  never  delay  or  thwart  again.  Ah, 
so  many  times  I  have — by  my  selfish  love — 
(breaks  off).  Your  work  is  a  mission — al- 
ways. It  is  your  soul's  career.  I  under- 
stand at  last. 


KARMA  201 

PMKp 

Hush,  hush,  Little  Child!  You  say  wild 
things.  I  could  never  hear  of  it.  I  know 
your  dread,  your  shrinking  fear  of  Egypt. 
It  would  make  you  ill  again.  All  the  doc- 
tors agreed 

Mrs.  Lattin 

I  have  no  dread!  My  shrinking  was — a 
memory.  It  was  instinctive — a  cowardice 
that  shirked  sweet  expiation — there,  where 
it  is  due.  (In  spite  of  him,  she  rises  to  her 
feet.  Vigorous.)  I  am  well  again.  I  shall 
go  back  with  you.  Your  work — my  work — 
lies  out  there — in  Egypt.  Oh,  Phillip,  be 
glad  with  me,  for  I  am  forgiven,  I  am 
healed ! 

PhUlip 

(Stirred.)  Dear  heart!  Your  soul  is  too 
grand  for  this  frail,  precious  body.  You  in- 
jure yourself.  Such  sacrifice  from  you  I 
could  never,  never 


202  KARMA 

[Breaks  off,  as  he  notes  the  radiant  ex- 
pression in  her  face.  They  stand 
close  together  beneath  the  picture. 

Mrs.  Lattin 

(Inflexibly.)  It  is  no  sacrifice.  It  is 
love,  love,  love! 

Philtip 

(Tenderly.)  That  deep  love  I  never 
doubted.  But — the  ingrained  dread,  the 
fear,  the  shrinking  that  have  undermined 
your  willing  strength.  How  can  you ? 

Mrs.  Lattin 

They  are  gone  for  ever.  Phillip,  how 
often  must  I  tell  you?  I  am  healed.  I  go 
back  with  you.  We  go  together.  Our  life 
is  there,  in  Egypt. 

Phillip 

(Almost  convinced.)  I  feel  some  great 
new  reality  in  you.  You  are  most  wonder- 
fully changed.  Some  star  of  life  is  rising 


KARMA  203 

over  us — again.  (He  gazes  into  her  radiant 
face  with  a  touch  of  respect  and  wonder.) 
If— if 

Mrs.  Lattin 

You  must  at  once  withdraw  your  resig- 
nation. There  is  no  "too  late"!  (Laughs 
a  little.)  You  promise  me! 

[Amazement  in  him  gives  place  to 
dawning  belief  at  last.  Yet  he  still 
hesitates. 

PhiUip 

I  will  see  the  doctor  myself.  I  promise 
that  if  he 

Mrs.  Lattin 
You  cannot. 

Phillip 

Cannot!  (Awe.)  You  mean — you  have 
had  a  vision? 

Mrs.  Lattin 
He  has — gone. 


204  KARMA 

PhOUp 

(Convinced.)  It  was  a  vision. . .  ? 
[She  turn-ft  slowly  and  looks  up  at  the 
picture  on  the  wall  above  them. 
He  turns  with  her.  He  is  speech- 
less. He  holds  her  very  close. 
They  stare  together  at  the  palms, 
the  river t  the  stars,  the  temples. 

Mrs.  Lattin 

(Softly.)     Egypt — where  I  first  delayed 
and  thwarted  him,  loving  him  for  myself 
alone — Egypt,  beneath  your  risen  stars,  be- 
side your  rising  river — I  shall  undo — at  last. 
[A  new  expression  steals  into  his  face. 
He  gazes  at  the  picture  with  her. 
He  holds  her  still  closer  to  him. 

Phillip 

(Moved  and  wondering.)  Little  Child! 
It  is  very  strange.  Almost,  it  seems,  some 
dream,  some  memory  of  long,  long  ago  stirs 
in  me. 


KARMA  205 

[A  slight  pause,  as  they  gaze  tide  by 

side  at  the  picture. 

(With  effort.)  It  is  beyond  me  some- 
where, but  there  is  great  beauty — that  deep, 
unearthly  Egyptian  beauty  in  it.  (Lower* 
voice.)  Those  palms  are  rustling,  those 
stars  seem  to  move,  the  Nile  flows  down 
towards  the  sea.  Perhaps  . . .  The  Tear  of 
Isis  falls  . . . 

Mrs.  Lattin 
Listen . . .  yes . . . ! 

PMUp 

(Turns  to  her.)  Something  about  you, 
something  new  and — and  familiar  almost — 
steals  upon  me.  I  half  believe. . . . 

Mrs.  Lattin 

(Whispering.)  Phillip,  my  faithful  one, 
I  heard  another  name  as  you  said  that.  I 
heard  an  ancient  name — was  it  Menophis? 


206  KARMA 

t 

Phillip 
(Hushed  voice.)    I  thought  a  name  came 

to  me  too.     It  floated  past — Nefertiti.     It 

f  L 

must  have  been  the  beating  of  your  heart 
against  my  own. 

[They  stand  motionless  f  gazing,  listen- 
ing. 

Mrs.  Lattin 

Dear,  ancient  names.     How  sweet  they 
sound ! 

Phillip 
(Smiling.)     I  think  we  are  bewitched! 

Mrs.  Lattin 

Egypt!     (Pause.    Adds  sofily.)     I  un- 
derstand— at  last. 

[He  draws  her  head  back  and  looks 
tenderly  into  her  eyes. 

PhilMp 
All  but  one  thing. 


KARMA  207 

Mrs.  Lattin 
Which  is ? 

Phillip  % 

That  what  you  call  delay  has  helped  and 
taught  me. 

Mrs.  Lattin 

(Low.)  Perhaps  I  understand  that  too. 
That  which  the  soul  can  do  without  is  added 
to  it.  (Whispers.)  Is  it  not  that? 

Phillip 

Ah,  you  put  it  so.  Perhaps  you  put  it 
better.  I  only  know  that  you  have  given 
me  the  thing  I  needed  most — perspective, 
the  longer  sight.  My  vision  clears.  (Bends 
down  and  kisses  her.)  I  feel  new  power 
for  my  work.  I  see  it  whole. 

Mrs.  Lattin 
Then  my  forgiveness  is  complete. 

CURTAIN 


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